Andrew Solomon‘s brilliant, brick-heavy Far From the Tree is a book seemingly far removed from the world of theater. Subtitled “Parents, Children, and the Search for Identity,” it chronicles the pains and triumphs of people who create offspring profoundly different from themselves; Solomon’s categories of dissimilarity include deafness, criminality, transgenderism, and dwarfism, among others. His ultimate message in so much heartbreak is an uplifting one: most people, he says, can love any child, no matter how disabled; indeed, the pain in loving them is made all the greater for being so hard-won. “There is a psychic proximity in desolate times that happiness does not match,” Solomon writes, adding later, “The happy endings of tragedies have a dignity beyond the happy endings of comedies.” The book’s 700 pages demand a significant time investment, but I found it more than worth my while. It is the truest book I have read in quite some time.
But back to the stage—one of Solomon’s chapters is “Prodigies.” It intersects interestingly with the theater by profiling composer Scott Frankel, himself a former child prodigy. You probably know Frankel for his Grey Gardens score, but his work will be back on the boards this summer, when his Far From Heaven opens Off-Broadway at Playwrights Horizons. Frankel’s story of growing up different is fascinating, and I’ve included a few excerpts below. Here’s what Solomon writes:
Scott’s first piano teacher knew that Scott had a remarkable talent; Scott knew, too. “There’s something palpable when your abilities fill you with a divine sense of fate,” he said. “It instantly separates, even alienates you from your schoolmates.” Playing for his parents, “I began to think they liked me for what I could do, perhaps to the exclusion of who I was. The pressure made music an unsafe area. My partner and I had people over for lunch recently, and one asked me to play and I said, ‘No,’ and I sounded really rude, and I felt that rage again. I can’t shake it”…
When he told his parents he was gay, they were livid. “I resented the parochial affection,” he said. “You get the whole package. You can’t pick the shiny bits from the other bits.” In his twenties, Scott became so angry at his parents that he stopped writing music. “Their interest made me want to eat the baby,” he said, “to deprive them of something to pimp and market for their own purposes. Of course, it had the side effect of shooting myself, career-wise and ethos-wise, in the foot. I was completely unmoored, and nothing made sense anymore. All I had was drugs, sex, and therapy.” Scott went ten years without touching a piano. “Yet music kept encroaching. I would be near a piano and feel emotions I couldn’t shut out.” Finally, Scott began composing the musicals that propelled him to Broadway…
Read the whole book for the full story—it’s fascinating, tear-jerking stuff… and it just might offer enough material to bide the time to Far From Heaven‘s May premiere!
photo of Scott Frankel (below) by Zack DeZon
CHECK IT OUT…
— Wendy Wasserstein and Susan Sontag, on the page and onstage
— Billy Elliot, Trojan Horse?