How did a nervous, anxiety-ridden girl who didn’t want to sing go on to become a major Vaudeville, Radio, and Commercial Television star, affectionately called One Take Tupper for her ability to master a scene in one take? And what happened to her brother, Jack, the go-getter performer who pushed her through it all?
Five years ago, we set out to write an original musical that would speak to us. When we found the true life story of Jack and Loretta Clemens, a sibling Vaudeville duo turned Radio and TV Stars, we knew we wouldn’t find a more perfect match. Two kids from the sticks of Ohio who went on to have an incredible three decade career across three different mediums of entertainment. The show deals with major changes in entertainment/society over the 20th century but at its heart, focuses on what we’re willing to do for our family and our dreams. And who can’t relate to that?
The show serves as a valentine to the golden age of musical theatre. Dramatically, it has the adventure of Annie Get Your Gun, the drama of Gypsy, and the heart of Funny Girl. And at a time when screen to stage adaptations and juke box musicals abound, On the Air offers something refreshing, new, and original. Like its two leading underdogs, the show has defied every hurdle and expectation thrown at it, being first presented as part of the Finger Lakes Musical Theatre Festival. Then going on as a semifinalist in the National Alliance for Musical Theatre Festival and Forward Theatre Project, as well as a finalist for the Santa Fe Musical Theatre Festival and Rhinebeck Writer’s Retreat. It also had two New York industry readings, directed by Tony Nominee Hunter Foster, one of which was at the York Theatre Company.
Now the show is ready to move onto a more fully mounted production, and we need your help to do that!
Risks and challenges
The best things in life have risks. We’ve put in much of our own personal money to get On the Air as far as it’s gotten so far. So much so that we have nothing more that we can put in. And while that was incredibly risky, the risk has paid off tenfold.
To say getting a show produced is hard is the biggest understatement of the year. Many shows never even reach the reading stage, so being able to have our show go beyond that is incredibly gratifying. However, with each step up, the next step that follows becomes even harder.
Having this workshop production right in New York City will allow us to get the show seen by major producers and theatres, out of whom we may get a chance to move the show to a regional production, Off Broadway, or beyond.
All of that, including 5 years of editing/writing/funding, goes out the window if we can’t get the funds for this production. We’ve seen the effect this show has had on everyday people, and we believe it deserves to be seen. Please help us reach our goal and be a part of that!Learn about accountability on Kickstarter
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