Bio:  Skip Schloming

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Up to puberty, all things Disney.

Early teens onward, loved classic Broadway musicals

Teens through college, involvement in theatre. 

Graduate school, Brandeis U, Sociology. Ph.D.: "Missa Sociologus," a 10-min oratorio satirizing sociological jargon.

In a small private school operated with his wife, Skip wrote seven one-act musicals with a unique role for each student, performed for the local community, including:

"Lady Meets the Wild and Woolly West," 30-min, music from old hymns

"The Other Wise Man," 20-min oratorio, based on the Henry van Dyke short novel, music from old hymns

"The Three Little Prigs," 20-min, lyrics set to selected music from Handel's "Messiah."

While writing "That Emperor's Fool," Skip studied Commedia dell’Arte, pantomime, comedy, the history of fools, and the history and technique of American musical theatre.

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Bio:  Alistair Mungall

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A British composer, arranger, singer, teacher, and University lecturer with a Masters degree in music from Surrey University in England. As a songwriter, he is known for his work in the 1990s with the Sheffield-based rock bands Locked Out and Chaos Theory. He has worked in multiple genres including 1960s soul music and English and American folk music and jazz. He has been musical director for multiple musicals. That Emperor's Fool is his first full-length production in the capacity of composer.

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When Al contacted Skip to audition for composer, Skip suggested that he compose the love song "Out of Nothing" and a comedy song of his choice. In short order, Al sent him an audio of compositions for every song in the musical. Skip felt, however, that the music was too avant garde in style for an all-ages musical. Expressing great thanks for Al's considerable effort,  Skip told him that he regretted that he could not use him as composer. Al replied that he could write music in any style. What did Skip want? Could Skip suggest some musicals to listen to?  Skip suggested Carousel, West Side Story, and My Fair Lady. In short order, Al returned with a complete score again, with appropriately accessible music in his own unique style. Al's music is phenominally great and well-crafted for each song's musical needs.

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Acknowledgments

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Skip thanks all the following for their support and suggestions, in no particular order:  Donald Tongue, Scott Sancetta, Gene Hodsdon,  Bert Draesel, Ian Thal, Idan Irelander, Judy Gordon, Mike Long, Mark Sickler, Marc Miller, Mark Sensinger, Susan Capestro, Rob McAllen, Steven Rodgers, Michael Wartofski, Ralph Sevush, Lenore Schloming, members of Boston Playwrights Platform.

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Al thanks Tom Mungall, Tim Stoney, Sally Mungall

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