Twice In A Lifetime

Steven Tancred, a young lawyer has been told by his Boss to quit smoking.
Our show starts with Steven visiting a hypnotherapist, Dr. Patel, who is
assisting in this endeavour. In a trance, Steven is inadvertently regressed to a
previous existence in 1929 Chicago when he was a young guy called Johnny
May who is a reluctant mobster with Bugs Morans gang. Johnny has fallen for
a gorgeous nightclub singer named Ruby and wants to escape Bugs and the
mob to go and live with Ruby on a farm. Slight complication Ruby is Bugs
Morans broad.

More

Cast 6 Men 6 Women plus Ensemble of at least 10 singers/dancers

SET Multiple

For all Amateur Rights please contact

SAMUEL FRENCH LTD AT www.samuelfrench.com

All other rights enquiries to

RAY COONEY PLAYS at info@raycooneyplays.co.uk

Tel/Fax 01732 867405 (from Overseas +44 1732 867405)

Introduction

Steven Tancred, a young lawyer has been told by his Boss to quit smoking.
Our show starts with Steven visiting a hypnotherapist, Dr. Patel, who is
assisting in this endeavour. In a trance, Steven is inadvertently regressed to a
previous existence in 1929 Chicago when he was a young guy called Johnny
May who is a reluctant mobster with Bugs Morans gang. Johnny has fallen for
a gorgeous nightclub singer named Ruby and wants to escape Bugs and the
mob to go and live with Ruby on a farm. Slight complication Ruby is Bugs
Morans broad.

Back in the present day a confused and agitated Steven sifts through all the
old press cuttings of 1929 and discovers that Bugs Moran was a Mobster who
actually existed (he did too!) and, moreover, the greying photos of Bugs are
just as Steven saw him in his regressed state. Stevens amazement turns to
horror when he sees a press cutting headed St. Valentines day Massacre
he is even more horrified to read that every member of Bugs gang was wiped
out by his arch rival Al Capone. His horror turns to disbelief when he reads
that Johnny May was one of the gang who was slaughtered. The photo of
Johnny May could be that of Steven.
Because Stevens law firm is involved in a high-profile law suit, Stevens
colleague, Jeff, gets more and more irate with Steven when Steven insists on
having daily regression sessions with Dr. Patel in a desperate effort to
somehow prevent Johnny from getting killed in the massacre. Barbara,
Stevens fianc, is also furious with Steven at his lack of concentration on
their up-coming wedding and his besotted involvement with the past
especially Ruby!

As one cant change the past which Jeff tries to get through to the almost
deranged Steven it might be considered impossible for TWICE UPON A
TIME to have a happy ending. But, as Dr. Patel points out to Steven, there is a
reason for being regressed to a previous existence. And true love conquers
anything!

With the story and book by Ray Cooney and the music by Chris Walker, TWICE
UPON A TIME is assured of having lots of laughter and a few tears as the
scenes zip between the London of today and the Ragtime of 1929 Chicago. Its
also something of a challenge for the actor playing Steven/Johnny as he
doubles the two characters!!

Millicent Martin and Ray Cooney

Photo by Ed Krieger

World Premiere Musical

TWICE UPON A TIME

by legendary British playwright

Ray Cooney
 Debuts at the Civic Light Opera of South Bay Cities

starring

Broadway and TV veteran

Millicent Martin

Feb 13th to Mar 2nd, 2008

Book by Ray Cooney

Music by Chris Walker

A brief history by Ray Cooney

In 1997 TWICE UPON A TIME started off as one of my comedy plays

called TIMES UP. Very simply the basic plot concerned a Member of
Parliament who had been instructed by the Minister of his department to quit
smoking. The MP had tried everything from patches to potions and had finally
gone to a hypnotherapist to assist him in his effort to kick the filthy nicotine
habit. Whilst in a trance, however, our hero is inadvertently regressed to a
previous life in which he was Guy Fawkes attempting to blow up the Houses of
Parliament! The play then flipped between the 17th century and today.

As always, we gave the play a rehearsed play-reading which was quite

encouraging and after my usual severe re-writing, we embarked on a full-scale
try-out at one of my favourite theatres, the Theatre Royal, Windsor. A lot of
the piece worked very well but, in my heart, I realised that, no matter how
much re-writing I did, the Guy Fawkes situation didnt work. It was the first
time in rather a long career I hadnt re-written and re-written to get my baby
right. So I got on with other projects.

Two years went by then, in 1999, I woke up one morning and thought Of
course! TIME'S UPshould be a movie! The usual huge re-write ensued and our
hero became a lawyer who was told by his boss and prospective father-in-law
to quit smoking. Hero goes to the hypnotherapist and is duly regressed to
when he was a gangster with Bugs Moran and Al Capone in 1929 Chicago.

I took the much improved screenplay around the Hollywood Studios where a
great deal of interest was shown (Oh, my God, Ray this is the funniest script
Ive ever read) and, after two years, absolutely nothing had happened. So I
got on with other projects.
Two years went by then, in 2004, I woke up one morning and thought Of
course! TIME'S UPshould be a musical! Before I embarked upon my usual
huge re-write I was fortunate enough to bring on board Chris Walker to
compose the music.

I thought plays involved a load of re-writing; Chris and I soon discovered what
musicals do to the nervous system. Since 2004 weve done four rehearsed
workshops of our piece and a full-scale try-out at Guildford. Chris tells me he's
written enough numbers to fill three musicals and, apparently, Im now on my
33rd version of the script. And it's not finished yet! I must admit that if the
audiences response during the shows various outings had not been so
encouraging, even I might have thrown in the towel by now.

So! With the show fluctuating between England today and 1929 Ragtime
Chicago I thought it would be a good idea to check it out with an American
audience. So!!! Under its new title (yes, we re-write everything!) TWICE UPON
A TIME, were embarking on a workshop at the beautiful Civic Light Opera
Company, Redondo Beach, California in November followed by a full-scale
production at that theatre in February 2008, where we are so happy to have
secured the services of Larry Blank as orchestrator. Larry is well known for his
arrangements of DR DOOLITTLE, WHITE CHRISTMAS, FIDDLER ON THE
ROOF, THE DROWSY CHAPERONE, THE PRODUCERS and many, many more.

Im not sure where (or when!) this saga will end but the trip has been huge
fun and well worthwhile and Chris and I are still friends! Mind you, if there
are more re-writes after Redondo

FIRST TRY-OUT

YVONNE ARNAUD THEATRE, GUIDFORD.

October 28th November 5th, 2005

with the following cast

Steven/Johnny - Jody Crosier

Ruby/Linda - Jo Gibb
Jeff - Neil Ditt
Barbara - Tiffany Graves
Bugs Moran/Mr Robertson - Julian Littman
Dr Patel - Tiran Aakel
Fingers/Minister - Geoffrey Abbott
Mr Pilsworth - Paul Bentley
Mrs Pilsworth - Sara Weymouth
Mrs Clarke - Anne Rogers
Miss Dixon - Jo Cook
Ensemble: Robin Colyer, Emma Dalton, Claire Glazebrook, Elizabeth Law,
Jonathan Lodge, Chris Nelson, Laura May Pomeroy, James Roundtree, Glen
Joseph, Phil Lawton, Sarah Caharlan, Katy Day, Jenii Hicks, Malinda Parris,
Graeme Dalling, Jonathan Stewart, Phil Lawton, David Haydn, Christopher
Haws.

Directed by Ray Cooney

Choreography by Carole Todd
Set Design by Douglas Heap

The try-out out at the Yvonne Arnaud was a great success. The audiences had
a great time and the comments after the show along with the smiling faces
have given us hope that we might have a successful show.

SECOND TRY-OUT

CIVIC LIGHT OPERA, REDONDO BEACH, LOS ANGELES

Feb 13 to Mar 2, 2008

with the following cast

Johnny/Steven Brandon - Michael Perkins

Ruby/Linda - Misty Cotton
Jeff Walters - Kevin Symons
Barbara Pilsworth - Jennifer Malenke
Gregory Pilsworth - Robert Malenke
Daphne Pilsworth - Monica Smith
Bugs Moran/Mr Robertson - Sam Zeller
Mrs.Emily Clark - Millie Martin
Fingers/Vicar - Jeffrey Rockwell
Dr. Patel - Danny Bolero
Miss Dixon/Ensemble - Carly Nykanen
Ensemble:Matt Bezmarevich, Jennifer Brasuell, Chris Ciccarelli, Travis
Davidson, David R. Gordon, Lloyd Gordon, Merissa Haddad, Carolanne Marano,
Heather Mieko, Joseph Marshall, Marc Oka, Chris Redondo, Stephanie Renz,
Jesse Rhodus, Glenn Shiroma, Rachel Thoreson

Directed by Ray Cooney

Musical Director Dennis Castellano
Original Orchestrations by Larry Blank
Choreography by Karen Nowecki
Lighting Designer Darrel J. Clark
Costume Designer Karen L. Cornejo
Sound Designer John Feinstein

FIRST WORKSHOP

(Full Production Workshop)

SHAFTESBURY THEATRE. London

January 16th 2005

with the following cast

Steven/Johnny - Alan Crawford

Ruby/Linda - Carli Norris
Jeff - Dominic Marsh
Barbara - Rebecca Jo Hanbury
Bugs Moran/Mr Robertson - Gareth Marks
Dr Patel - Dan de Cruz
Fingers/Minister - Tom Newman
Mr Pilsworth - Eric Carte
Mrs Pilsworth - Rosie Timpson
Mrs Clarke - Jacqueline Clarke
Catering Manager - Paul Hazel
Narrator - Roger Bruce
Ensemble: Ahmet Ahmet, Mark Torrance, Andrew Gordon-Watkins, David
Dorrian, Bunny Losh,
Stuart Hickey, Matthew Newman, James Hayward, Benjamin Stirling, Sarah
Lark, Katherine Cameron, Siam Hurlock, Sophie Norris, Natalie Searls, Vikki
Stone.
Directed by Ray Cooney
Choreography by Carole Todd

SECOND WORKSHOP

(Rehearsed Play Reading)

LONDON WELSH CENTRE

April 29th 2005

with the following cast

Steven/Johnny - Jody Crosier

Ruby/Linda - Helen Baker
Jeff - Neil Ditt
Barbara - Kim Ismay
Bugs Moran/Mr Robertson - Gareth Snook
Dr Patel - Manoj Nair
Fingers/Minister - Geoffrey Abbott
Mr Pilsworth - Geoffrey Abbott
Mrs Pilsworth - Rachel Izen
Mrs Clarke - Rachel Izen
Catering Manager - Geoffrey Abbott
Miss Dixon - Jo Cook
Narrator - Roger Bruce
Directed by Ray Cooney

THIRD WORKSHOP

(Rehearsed Play Reading)

NITRO REHEASAL ROOMS

July 2nd 2005

with the following cast

Steven/Johnny - Jody Crosier

Ruby/Linda - Vanessa Clarke
Jeff - James Campbell
Barbara - Helen Anker
Bugs Moran/Mr Robertson - Julian Littman
Dr Patel - Tiran Aakel
Fingers/Minister - Geoffrey Abbott
Mr Pilsworth - Paul Bentley
Mrs Pilsworth - Tracy Collier
Mrs Clarke - Anne Rogers
Miss Dixon - Jo Cook
Ensemble: Ben Stock, David Lucas, Karen Evans, Alexandra Silber
Directed by Ray Cooney
FOURTH WORKSHOP

(Rehearsed Play Reading)

NITRO REHEARSAL ROOMS

October 22nd 2006

with the following cast

Steven/Johnny - Andrew Bevis

Ruby/Linda - Michelle Bishop
Jeff - Keiron Crook
Barbara - Rachel Bingham
Bugs Moran/Mr Robertson - John Partridge
Dr Patel - Raj Ghatak
Fingers/Minister - Steven Serlin
Mr Pilsworth - William Relton
Mrs Pilsworth - Sarah Ingram
Mrs Clarke - Myra Sands
Miss Dixon - Donna Steele
Ensemble: Edward Gower, Andy Brady, Kelly-Anne Gower, Holly Aisbitt
Directed by Ray Cooney

FIFTH WORKSHOP

(Rehearsed Play Reading)

CIVIC LIGHT OPERA, REDONDO BEACH, LOS ANGELES November 5th, 2007

Johnny/Steven - Brandon Michael Perkins

Ruby/Linda - Misty Cotton
Jeff - Kevin Symons
Barbara - Jennifer Malenke
Bugs Moran/Mr Robertson - Sam Zeller
Dr. Patel - Benjamin Perez
Fingers/Vicar - Jeffrey Rockwell
Mr. Pilsworth - Brad Blaisdell
Mrs. Pilsworth - Monica Smith
Mrs. Clark - Millie Martin
Miss Dixon - Carly Nykanen
Ensemble: Matt Bezmarevich, Jennifer Brasuell, Chris Ciccarelli, Rachel
Genevieve, David Gordon, Merissa Haddad, Carolanne Marano, Shannon Mari
Mills, Marc Oka, Stephanie Renz, Jesse Rhodus
Directed by Ray Cooney

LONG BEACH PRESS TELEGRAM

British 'Master of farce' gets dramatic for local premiere of his

musical

Long Beach Press Telegram

British 'Master of farce' gets dramatic for local premiere of his musical

Perhaps the closest American counterpart to English playwright Ray Cooney is

Neil Simon. Both men are about the same age (Cooney is 75 and Simon, 80),
both rule their country's Mecca of theater - Simon has brought two dozen
shows to Broadway, Cooney's West End total is 17 - and they are known
almost exclusively for making comedies. Only time will tell if both writers will
remain favorites in the regional theater community. But it's possible that while
Cooney's name may never become more familiar than Simon's in the U.S., his
plays may eventually be more recognizable. That's because Simon captured
the essence of situations that were funny at the time he wrote them, while
Cooney creates comedy that - like the antics of the Marx Brothers - is
timeless.

Cooney's de facto title is "master of farce" for his ability to place characters in
impossible situations, where every lie they tell or secret they hide makes the
story more ridiculous, and makes the audience laugh even harder. With his
track record, which includes a successful run in 2003 of his "Caught in the
Net" at International City Theatre in Long Beach, it makes sense that Cooney
would be the horse to bet on for Civic Light Opera of South Bay Cities for a
world premiere of his musical "Twice Upon a Time," which he also is directing.
The production opens Saturday at the Redondo Beach Performing Arts Center.
Known for producing or importing high-caliber, familiar works during its
previous 15 seasons - "Grease," "Oliver!" "Kiss Me, Kate" - CLOSBC and its
executive producer, James Blackman III, have been hesitant to risk a big
budget on an unknown show.

What's more, this isn't a typical Cooney farce. "There is tension and drama in
it," said Cooney, during a rehearsal break. "And I think the dramatic and
moving places will make audiences even more receptive to the comic side of
the story."

Actually, there are two stories.

One, set in the present, involves Steven (Brandon Michael Perkins), a lawyer
who is working with a shopping mall developer trying to clear the way for a
new project, only to be stopped by the lone holdout - a stubborn elderly widow
(Millicent Martin).The second story takes place in 1929 Chicago.

"It's pretty simple," Cooney explained. "The young lawyer goes to a

hypnotherapist to stop smoking. But when he's in a trance, he accidentally is
regressed to a previous life when he's a gangster named John May, who
realizes he was killed during the St. Valentine's Day Massacre. So in this other
life he is going to be killed and he doesn't know what to do. I figured it out
with a nice twist."

Though not a farce, the musical has plenty of comic scenarios. Cooney also
maintains his trademark of all the action happening in real time - only in this
case, real time is occurring in two different eras. Not typically a show writer,
Cooney took several years to complete "Twice Upon a Time."

"It began as a play, but it wasn't working, so I put it to bed," Cooney said.
"Then I woke up one morning and realized it had to be a movie. I hawked it
around a bit, and people said, 'It's the best thing ever,' which always means
it's never going to happen. I put it away for another year and then I thought,
'It's a musical."'

If all goes as planned, the Redondo Beach staging will precede a run on the
West End - giving Cooney 18 original works to have graced a major London
stage.

Martin, the veteran English actress whom Cooney imported to portray the
musical's elderly woman refusing to leave her property, expects South Bay
audiences will earn bragging rights with "Twice Upon a Time." " They are going
to get to say, 'We saw it first."'

By Jeff Favre, Special to the Press-Telegram

THE BEACH REPORTER

Lost in Time

The Beach Reporter

Lost in Time

During his youth, playwright Ray Cooney had ambitions of being an actor,
maybe the next Marlon Brando or Laurence Olivier. Although his thespian
heart never strayed far, his comedic writing talent developed into worldwide
success on the stage. Known in Britain as the master of farce, Cooney
brings the world premiere of his latest musical Twice Upon a Time to the
Redondo Beach Performing Arts Center this week, one of the Civic Light Opera
of South Bay Cities' most ambitious productions.

With 17 productions staged in the West End, Cooney's works have been
translated in 40 languages on stages around the world. Twice Upon a Time
is his first musical in 15 years. Other venues were considered, including the El
Portal Theatre in North Hollywood, but the size was considered an obstacle. It
was then the Redondo Beach Performing Arts Center was considered. Even
though it's a small cast, it is a big show

Cooney said. You have to have, there's no way around it, because there's
two complete stories that you weave in and out, 1929 Chicago and today. So
it's heavy on principals. There are 12 principals and you need 12 more in the
ensemble. It's big. We looked at the budget and we went, Wait a minute. We
can't do it here. It's just not large enough.'
Twice Upon a Time alternates between Prohibition-era Chicago where Johnny
Ray (Brandon Michael Perkins) joins Bugs Moran's (Sam Zeller) gang and falls
in love with Ruby (Misty Cotton), a showgirl with a connection to Moran; and
present-day England where Steven Tancred, a lawyer, re-evaluates his
engagement to his boss's daughter. Steven's desire to quit smoking sends him
to an Indian hypnotherapist. While under hypnosis, Steve is transported back
into 1929 where in both worlds he has a difficult discussion to make with
many consequences.
The inspiration for Twice Upon a Time came nearly 10 years ago, and over
those years the show evolved from a movie concept to a musical about four
years ago. Four workshops and regional theater tryouts then took place in
England. From there, the title changed, more rewriting took place and more
than half of the musical numbers were also rewritten. With the vast number of
changes, Cooney said he considers Twice Upon a Time a world-premiere
musical.
Cooney said casting the leading man was one of the production's difficulties.
He's never off the stage and he has to be able to do a reasonable English
accent and obviously a great gangster accent, Cooney said. He has to be a
fantastic singer, dance a little bit, and he's got to be in his mid to late 20s or
look as though he is. It's a really difficult role to cast, which is one reason why
I thought about doing it here. It's not easy to find this kind of performer in
England. You're looking for Michael Crawford 30 years ago. Over here there's
much wider choice and in Brandon we have found a really terrific new guy.

But Cooney gives credit to the entire cast, which also includes Robert Machray
(Mr. Pilsworth), Millicent Martin (Mrs. Clark), Monica Smith (Mrs. Pilsworth),
Kevin Symons (Jeff Walters), Danny Bolero (Dr. Patel), Jennifer Malenke
(Barbara Pilsworth), Carly Nykanen (Miss Dixon) and Jeff Rockwell (Fingers), for
their work. It's a lovely team, he said. The quality of the work here is really
good.

A writer's life

Cooney's working class parents - his father was a carpenter and his mother
a store cashier - scrimped and saved to send him to a good school but the
young Cockney boy had a desire to leave school and become an actor. He
made a deal with his parents. If I can get a job in the professional theater in
my summer's holiday before I was due back to school, I could leave school
and become an actor, Cooney said. During the summer's holiday I walked
around all the agencies in London saying, I'm going to be an actor.' About a
week before his time was up, when he was just 14 years old, he got an
audition for the musical Song of Norway, and he never looked back. He left
school and had a number of acting jobs before enlisting in the army from 1950
to 1952 as part of the country's national service.

Cooney said his two years as a soldier probably helped him in his ambitions.
That's when I realized the best way to get through this was to be funny,
Cooney said. Because I was an actor they would all have a go at me. Oh,
you're a fu***** actor.' So I learned to try and be funny, and that helped me
very much as an actor and probably helped my writing as well.

After his two years were up, Cooney joined the Weekly Repertoire Company,
where before he finished, he did around 200 plays, a different play every
week. I didn't realize what I soaked up, said Cooney of this acting
experience. I didn't realize what I knew about the theater and the structure
of plays. I was just busy playing tennis and chasing the girls and learning my
lines and doing the plays and having a wonderful time. Then I got into a long
run on the West End of London which ran for four years.

It was around 1956 that Cooney began writing his first play, One for the Pot,
even though he really didn't know the proper structure for a play, which
became a big success on the West End. Even with a lot of mistakes in the
beginning, his career as the master of farce was soon under way. Other hits
soon followed including Run for Your Wife, the West End's longest running
comedy, and Funny Money, which was made into a movie starring Chevy
Chase in 2006.
Cooney has also worn the hat of a producer as well, but reluctantly after a
producer dropped out of a show at a West End theater even when the theater
was booked. Cooney stepped in and helped raise the money so the show
could go on.
I borrowed my mother's burial money and sold the car and took a mortgage
out on the house and got a few friends to chip in, Cooney said. I became a
producer and a director and a writer and an actor. One London play he
produced, Whose Life is it Anyway?, became a 1981 film starring Richard
Dreyfuss.

Even with his success as a producer, and especially a director, Cooney said his
first love is still acting. I still prefer acting more than anything, he said.
Everything else I've done is hard work. Being a director, every actor saps
your energy. There are lots of responsibilities.

In 1983, Cooney created the Theatre of Comedy Company and became the
artistic director, and in 2005 he was honored with an Officer of the Most
Excellent Order of the British Empire, or O.B.E.

While Cooney's work stems from English playwrights he grew up with,

American playwrights inspire him as well.
What I admire about American comedy writers like Neil Simon is that they
can make people laugh a lot and have a tear in their eye during the same
production, he said. Americans are better at that.

Cooney's family life has been a success also. He's been married to his wife,
Linda, for 45 years and has lived in the same home on the outskirts of London
for 42 years. They have two sons, Danny and Michael, who each have two
children of their own. While Danny lives in Australia, Michael is building a
career in Hollywood. His screenplay, Identity, was made into a film starring
John Cusack in 2003 and his latest, Shelter, featuring Oscar-nominated
Julianne Moore, is soon set for production.

Even celebrating 60 years in the business last year, Cooney said he is

nowhere near retirement and still loves the response from the audience.
It's great if you're on the stage or standing in the back of a theater and to
hear people laughing in the theater this size on the nights when it's full,
you've got a thousand people, total strangers all sitting there laughing and
applauding all together, he said. You get that feeling sometimes in a church
and you've brought a congregation together.
By Michael Hixon

The music is by Chris Walker. The musical director is Dennis Castellano. The
Civic Light Opera of South Bay Cities' production of Twice Upon a Time
opened Feb. 13 with previews, which run through Friday, Feb. 15, with 8 p.m.
start times. The gala press opening will take place Saturday, Feb. 16, at 8 p.m.
The show closes Sunday, March 2, with a 7 p.m. show.
For more information, call (310) 372-4477 or visit www.civiclightopera.com

EASY READER

Author, author! West End playwright/director picks Redondo's CLOSB

for new musical premiere

Easy Reader

Author, author! West End playwright/director picks Redondo's CLOSB for new
musical premiere

Even by Civic Light Opera of South Bay Cities James Blackmans hyperbolic
standards, his enthusiasm for this latest production is notable. It feels like a
big Broadway show thats always been here. It could have been done at the
Music Center, the Pantages or the Ahmanson. Cooney has the weight to go to
these places. But, were thrilled that he picked us. It truly says something
about the South Bay. In our world of musical theater, having this play at
CLOSBC is like being a part of the launching of the space shuttle. It gives us
great opportunities for the future.

It is Twice Upon a Time, a new musical by British author and director Ray
Cooney. Cooney selected the CLOSB to premiere his first new musical in 10
years because of his mutual admiration for Blackman. Cooneys previous
plays include Funny Money, which was made into the 2006 movie starring
Chevy Chase, and Run For Your Wife, whose nine years in the West End,
made it the longest-running comedy in the districts history.

In 2005, he received the O.B.E. (Officer of the Most Excellent Order of the
British Empire) Should we call you sir? asked this empire-challenged
reporter. No, thats only when youre a knight, said Cooney. The OBE is a
bit down the ladder. I call it my Oh, Bloody ell. But it really was very nice to
receive because it usually goes to great Shakespearean actors and such.

To date, Cooney has had 17 plays staged in Londons West End. Hes hopeful,
after its South Bay premiere, that Twice Upon a Time, will be his 18th West
End production. Cooney is no slouch at hyperbole, himself. During an
interview last week, he said of Blackman, Hes the biggest theatrical
character Ive ever met. Hes great; he sums up theater. He would have had a
ball in the 1920s. And hes so enthusiastic. Oh my god, Ray, this is a hit, its a
smash. Forget about London, this is Broadway. You cant help but get carried
away by his enthusiasm. I love him. I missed my era, Blackman replied
simply.

Cooneys enthusiasm for Blackman and CLOSBC stems from his visit to the
Redondo Performing Arts Center last year to watch Sophisticated Ladies. At
opening night, Blackman did his usual comedic monologue dressed in white
tie, white gloves, and black tails.

Time for time-travel

Any world premiere in theater is a big deal, whether the showplace is London,
Boston, off-Broadway or, in this case, Redondo Beach. Twice opens
CLOSBCs 17th season of producing four musicals per year, plus the Hermosa
Beach Playhouse series. Blackman said he laughed out loud when he first read
the script of Twice. And he adored the music upon first listen. This play
feels familiar, but its brand new. Ray is so very, very smart, said Blackman.
This is the most exciting thing thats happened since we won our first
Ovation award (LA Stage Alliance recognition for theater excellence) and, at
that time, I ran up and down PCH holding the trophy.

Twice Upon a Time is basically a love story. An awkward triangle ensues.

And, oh yes, the main character time-travels between present-day Guilford,
England and 1929 Chicago. Our hero, Steven Tancred, is a hotshot Guilford
lawyer who has two assignments: Quit smoking or lose his job and evict an
old dowager from an apartment so that a client can develop the property.
Steven is engaged to the bosss daughter, but hes admittedly suffering cold
feet. He submits to hypnotherapy to address the first problem. During
treatment, he discovers that he has another much more exciting life in
1929 Chicago, where he is deeply involved with flat-nosed thugs whose
names end in vowels.
In his Chicago life, Steven is Johnny May, rookie hoodlum under the tutelage
of Bugsy Moran. Naturally, he falls in love with flapper Ruby, Morans main
squeeze. Author Cooney has been working on this play for 10 years. And, Im
sure, I probably havent done another musical in 10 years, he laughed.
I wrote a play called Times Up, the premise being that a government
employee encountered an office rule that there be no smoking. He goes to a
hypnotherapist for his smoking cure, is put into a trance, and regresses to
when he was Guy Fawkes, who in the 17th century tried to blow up the British
Parliament building.

We tried it out and it worked okay, but I knew in my heart it wasnt quite
right, so I gave it up, said Cooney. Two years later, I woke up one day and
said, Of course this should be a movie. I developed a good script and
brought it over here I had a few connections and everyone I showed it to
said, Oh my god, Ray, this is great, this is fabulous. Well, this went on for two
years and nothing happened. (The British Parliament building was the target
in the 2006 movie V for Vendetta, starring Hugo Weaving in a Fawkes-like
plot.)

Then, I woke up another morning and said, Of course this is a musical. I

mapped it all out and gave it tocomposer Chris Walker, and they thought it
was wonderful, said Cooney. They had a tough time in the beginning
because the story is quite convoluted. We didnt get it right the first time, so
we went through several readings and run-throughs until all felt comfortable.
Overall, for me, its been about 10 years in the making the Guy Fawkes
play, the movie script, and this one. Now I think its time to just do it, said
Cooney.

Many years and many plays

Cooney started acting when he was 14. I did lots and lots of weekly repertory
plays, a different one every night. I did this for a number of years, said
Cooney. By the time I got a job on the West End, Id probably done about 250
plays in weekly repertory. During my first West End play, which ultimately ran
four years, I thought Id better do something with my life other than chase
girls and play tennis, so I started writing. I just had this quirky brain and I
didnt realize how much I knew about the mechanics of the theater, he said.

Can an aspiring actor gain similar onstage experience today? No, it wont
happen again. I mean, its a wonderful life; you had all the camaraderie. It was
like being in the trenches in the first World War. As actors, you needed each
other desperately because sometimes you were learning very long roles in
five days while still doing another play at night. And you had to learn the lines
accurately because, if you forgot them, you didnt know which play you were
in, said Cooney.

There are a few stock companies around, but very, very few. Theres still the
off-Broadway theater, but you cant make a living. I wasnt making much, but I
had enough to pay for my digs, buy a bit of food and an occasional glass of
beer, he said. Today, you cant earn a living unless youre in television or
such. All actors today have to have other jobs.
Cooneys past experience and understanding of the plight of todays actors
allows him to empathize with the young cast of Twice. He is the first to
arrive at the companys rehearsal space on Artesia Boulevard and the last to
leave, ever mentoring the skills of his charges. Cooney admits to being
temporarily oblivious to the pressure felt by the cast and crew of producing a
world premiere. I didnt know that initially, but I realize it now. The
rehearsals, for example, have to be fit around both the schedules of the non-
union cast members and the union principals, he said. Everybody is so
enthusiastic here. And theyre all so very young they think Im Shakespeare
or something. But, they all work so hard, they give themselves to it, and they
love what theyre doing and theyre so pleased to be working. Its a tough
city, this is.

There are a couple ringers in the cast. Millicent Martin, a Broadway veteran
and old friend of Cooneys, plays Mrs. Clark, the stubborn old lady our hero is
trying to evict. Martins television fame in the U.S. first came in her satirical
crooning on the network production of That Was The Week That Was in the
1960s.

Another familiar face in the cast is Robert Machray, who plays the head
attorney in the Guilford law firm. Audiences will recognize him from his
hundreds of guest shots on TV shows including Seinfeld and Cheers.
Cooney said of lead Brandon Michael Perkins: Hes absolutely perfect.

Cooney believes the next step for the play, after CLOSBC, is Londons West
End. As one critic said after a London reading of the play years ago, It offers
lots of love and a few tears, said Cooney. If you can make an audience do
that, its not bad.

By Tom Fitt


THEATERMANIA

Theatermania
Twice as nice

It's good to be friends with Millicent Martin. The beloved English actress might
not do just one number in a new musical for just anyone, but since the author
is British farcemeister Ray Cooney, one of the veteran star's oldest pals, she
happily agreed to appear in the Civic Light Opera of South Bay Cities' world
premiere of his first musical Twice Upon a Time. "We often get together
socially and we always have a good time. So when he first told me about the
show and asked me to help him in the workshop, I thought it would be fun,"
she says. And right now, I only do things that sound like fun. She's an
eccentric old bird; the one thing I don't want to play is the old lady in the
rocking chair. That's when I really retire. And Ray is great to work with; even
when he gives notes, he treats everyone with humor and kindness. The whole
cast adores him."

In the US, Martin is best known for playing Daphne Moon on the TV series
Frasier "those were the sweetest people in the world," she notes and for
the Broadway production of Side by Side by Sondheim, which she originated
in London alongside her good friends David Kernan and Julia McKenzie.

"I remember when David first contacted Stephen Sondheim about putting the
show together. He told him to go ahead, but said he couldn't think of anything
more boring," she recalls. "But I think our little show really helped put his work
into people's consciousness, because you really got to hear all the lyrics. Plus,
our voices blended so well together."

Martin's next gig is this summer, when she returns to London to star as
Maman in the Open Air production of the classic musical Gigi. "I want to do all
the great old ladies of the musical stage, and she's a particularly feisty one,"
says Martin. "Open Air is one of the few places I've never worked before, and
it will be lovely to play a new venue. I just hope it doesn't rain. England is a
terrific place and I miss my friends there but it does have such awful
weather."

by Brian Scott Lipton

Twice as nice

FEATURES
Biography

Ray Cooney is today recognised theatrically and publicly as THE MASTER OF

FARCE and a most worthy successor as an author to the great Ben Travers,
and as a director/actor to Brian Rix. A most prolific writer of stage
farces/comedies of high standards which have not only graced the stages of
English speaking countries for more than 40 years, but have been staged
worldwide and translated into more than 40 foreign languages including
Chinese, Japanese and Russian. Television broadcasts in English and foreign
languages have also been widespread. Thus has Ray Cooney earned an
international reputation as the finest living writer of this form of theatre, and
professional and amateur artists have benefited from his writing genius and
influence as well as an actor/director. Charles Spencer the doyen of theatre
critics wrote of FUNNY MONEY, Ray Cooney is a National Treasure.

The following resum of Ray Cooneys activities for over seventy years bears
testament to his enormous theatrical input and influence on our theatrical
world.

Ray began his theatrical career as a boy actor at the age of 14 in SONG OF
NORWAY at the Palace Theatre in 1946. He had a busy career between 1946
and 1950 appearing in "Calcutta in the Morning" at the Players Theatre and
'The Hidden Years" at the Fortune Theatre plus "Treasure Island", "Peace
comes to Peckham", "The Winslow Boy" and "The Guinea Pig"in tours and
repertory Companies around the UK. Between 1950 and 1952 Ray did his
compulsory National Service in the Army. Following this he had many acting
roles in weekly Rep and Tours until joining the Brian Rix Company at the
Whitehall Theatre in 1956.

During this period he began his writing career by writing ONE FOR THE
POT with Tony Hilton. This was premiered at the Whitehall Theatre on August
2nd 1961. Whilst this had a successful run for over 4 years, Ray wrote CHASE
ME COMRADE, which had its West End premier at the Whitehall Theatre on
March 30th 1964 and ran for 3 years. Following this he co-wrote CHARLIE
GIRL (1964), BANG BANG BEIRUT (1967) again with Tony Hilton, MY GIDDY
AUNT (1968), NOT NOW DARLING (1968) and MOVE OVER MRS
MARKHAM (1971) all with John Chapman, WHY NOT STAY FOR
BREAKFAST (1973) and THERE GOES THE BRIDE (1974) with John Chapman.
He then devised the musical ELVIS in 1977 which won the Evening Standard
best musical award, followed by the play HER ROYAL HIGHNESS (1981). Then
came Ray's biggest hit, RUN FOR YOUR WIFE in 1982, which ran for 9 years in
the West End and Ray directed and played in the New York production. This
was then followed by TWO INTO ONE (1984), WIFE BEGINS AT
FORTY (1985), OUT OF ORDER (1990) which won the Laurence Oliver award
for best comedy, IT RUNS IN THE FAMILY (1992), FUNNY
MONEY (1995),CAUGHT IN THE NET (2001), sequel to RUN FOR YOUR WIFE,
which was nominated for both the Laurence Olivier award and the Evening
Standard Theatre award, TOM, DICK AND HARRY (2005) with son Michael
Cooney, and the musical TWICE IN A LIFETIME (2011) with Keith Strachan and
Chris Walker writing the music. It's estimated that over 100 million tickets
have been sold throughout the world for Ray Cooney comedies!

Apart from starring in his own plays in London, America and Australia, Ray has
appeared in many other productions including a year in the famous The
Mousetrap.

Between the years of 1970 and 1983, Ray produced many plays for the West
End including LLOYD GEORGE KNEW MY FATHER, SAY GOODNIGHT TO
GRANDMA, PASSION PLAY, WHOSE LIFE IS IT ANYWAY?, CHICAGO, OVER THE
MOON, HAPPY AS A SANDBAG, DUET FOR ONE, BODIES, ANDY CAPP,
ELVIS, DAME OF SARK, GHOST ON TIPTOE, JACK THE RIPPER, THE MATING
GAME, BIRDS OF PARADISE, IN AT THE DEATH and IPI TOMBI

In 1983, Ray formed the Theatre of Comedy Company (bringing together the
founder members consisting of thirty West End stars) and became its first
Artistic Director. During Ray's 8-year tenure the company produced over
twenty plays, including OUT OF ORDER, RUN FOR YOUR WIFE, TWO INTO ONE,
ROOKERY NOOK, WHEN WE ARE MARRIED, PYGMALION, SEE HOW THEY RUN,
and AN ITALIAN STRAW HAT at the Shaftesbury Theatre, and LOOT, INTIMATE
EXCHANGES, and SISTER MARY IGNATIUS at the Ambassadors Theatre.

In 1992, Ray bought the Playhouse Theatre in London. That year he staged
the West End premiere of his latest farce IT RUNS IN THE FAMILY at the
Playhouse. This was followed by JANE EYRE (1993) adapted by Fay Weldon and
starring Tim Pigott-Smith, Frederick Lonsdale's ON APPROVAL (1994) starring
Simon Ward, Martin Jarvis and Anna Carteret, and Ray's FUNNY MONEY in
1995.

Ray says he keeps fit, partly by swimming, playing tennis and gardening but
mainly, by appearing in his own hectic plays!

He was awarded the O.B.E. (Order of the British Empire) in the 2005 Queens
New Years Honours List for his services to drama.

Ray has been married to his lovely wife, Linda, since 1962 and they have two
sons. Danni, who lives in Australia, where he looks after Ray's business
interests in Australasia, the Far East and Russia and Michael, who lives in Los
Angeles and is a successful play and screenwriter in his own right.
Danni has two children, Jess and Ashlea. Michael also has two kids, Oliver and
Spencer. Ray and Linda make sure they see their two sons and the four
grandchildren by doing the round-the-world trip at least once a year. Ray
usually manages to combine these trips with directing and Acting in both
Adelaide and Los Angeles!

Ray' and Linda's extended family also includes most of the feline population of
Essex as well as everything else that strays into his garden from nearby
Epping Forest. The pet shops of Epping would go out of business if Ray moved
from the area!