Review Fix Exclusive: Mike Roberts Talks ‘Greed’

Review Fix chats with writer, composer and lyricist Michael Roberts, who discusses his newest production, “GREED: A Musical for Our Times,” which is currently enjoying its run at New World Stages.

A master composer, Roberts’ work has graced now only the stage, but also the small and big screen. Discussing his career and the creative process behind the show, Roberts gives us an inside look at his newest work.

For more information on the show, click here.

Review Fix: What was the inspiration for the production?

Michael Roberts: The idea to do the show came from the show’s producer, Eric Krebs. Ten years ago, he had an idea to produce a show about golf, and he asked me to write it. That show did (and continues to do) very well, so he thought it would be fun to try another musical review. Eric has always been very politically and socially aware and active, so he chose the subject of greed. I know that he, like so many others, has been disgusted and shocked by the culture of greed in the world–especially in this country. I, of course, share these feelings, so it wasn’t difficult to get into the mood of the project.

Review Fix: Musicals have always had a place in the hearts of Americans. Why do you think that is?

Roberts: Wow–that’s a great question. I mean that in both meanings of “great”. First, it’s a great question because it’s a very large question, and one I admit that I never considered. I suppose that they bring together all of the arts to serve a single emotional purpose. Also, they tell stories, and there is no escaping the allure of a good story. Add to that the t shows are written to be understood on first listening and viewing by a mass audience, and the reason it’s power becomes clear. And it’s live, of course. In this world of virtual this and avatar that, actual people standing in front of other actual people singing, dancing and telling stories is a rare thing.

It’s also a great question because it’s an interesting one. I suppose that all writers of musical theater should ask themselves that question from time to time. It’s important to know.

Review Fix: What’s your favorite song from this production, why?

Roberts: I was about to say that I like all my songs equally, and use that tired metaphor about them being like children. Of course, that’s not true (with songs or kids). It is hard to pick one, though. I guess that it would be the second song in the show “I Like Things”, because I’m a little proud of a couple of the lyrics. When you can land a good rhyme in the right place, it gives you an almost physical tingle.

Review Fix: What’s your creative process like?

Roberts: Each show is different. For a topical revue, I usually do a little research. Not much, though. It’s too easy to get bogged down in minutiae. I almost always begin with lyrics, and those I often start with a title. It’s a useful landmark to keep you focused on what the song is about. That’s why most of my songs have very direct and simple titles. I usually will finish an entire lyric before I begin composing music. The composing process is difficult to describe. It’s an interesting combination of deep concentration and a minor trance. It’s a fun place to be–for no more than 30 minutes at a time. I’ll go back and tweak (not twerk–that’s just weird) the lyrics so they fit better (the inside word for that is “scanning.” The fancy word for that is “prosody”).

I don’t understand what people mean when they speak of “inspiration”. For me a song is a thing to be made, or a problem to be solved. Although there is certainly artistry involved in writing a good song, i tend to think of it as a craft. For me it’s more carpenter than poet.

Review Fix: How did you prepare yourself for this production? What was your creative process like?

Roberts: For me, there really is no way to prepare for a production, because you can never anticipate what’s going to happen. By far the most important thing is to put together a creative team that you believe in. In theater that comes from, and begins, with the director. I am so lucky to have Christopher Scott at the helm for “Greed”. We’ve been working together for many, many years.

Once I’m in rehearsal, I become less a craftsman, and more of a repairman. It becomes about seeing which of your songs don’t work, and if they can be repaired. If not, they need to be replaced. I’ve always been very comfortable with rewrites and with throwing away songs that don’t work. Nobody gets it right every time. When you’re in rehearsal, you look. And (more importantly) you listen. Of course, you listen to your songs to see if they are doing what you want them to do. But you also listen to the audience in previews. You listen to your cast, creative team, production team and crew. I don’t watch my shows–i watch my audience watching my shows. It’s all about making sure that they have a good experience.

Review Fix: How do you think your other productions played a role in this one?

Roberts: Every artist matures from project to project. With this show, i feel i have finally begun to learn to write less, and leave more room for the actors, the choreography,–even the lights. Although the word is abused (perhaps especially by me), I feel I’m writing in a more integrated, “organic” way. Perhaps I’m getting better and working both micro and macro. At least, that’s my goal.

Review Fix: What do you think you learned about yourself from this production?

Roberts: How to survive. Between the developmental production at the playroom theater and this transfer to New World Stages, I lost my amazing, beautiful wife to cancer. Naturally, musical theater seemed frivolous and very much beside the point. But, as I suspected, work became my salvation. And I slowly came to realize that theater (even a musical comedy revue about greed) is important. At least it was important to me. And that goes to your earlier question about why musical theater survives. It reminds us, perhaps like nothing else in the world, that we are alive.

Review Fix: Who do you think will enjoy “Greed” the most?

Roberts: People who like musicals, people who like comedy, people who like to think about the world they live in, people who want to see the best cast on or Off-Broadway. And, above all, people who want to laugh and have a good time.

Review Fix: What are your goals for “Greed”?

Roberts: A Pulitzer prize, a Congressional medal of honor, the Nobel prize in physics, and the Heisman trophy. Or, a nice, long life for the show where we give our audiences 90 minutes of good songs, great performances, and a little food for thought.