Stage Notes: [title of show]

Do you remember that childhood story, The Little Engine That Could? Well, this is that story come to life. A few years ago, Hunter Bell and Jeff Owen submitted a last-minute proposal to the NY Musical Theater Festival; it was so last-minute, they proposed that their show would be “about” the making of a musical for the festival. The idea was accepted, and they had to come up with a show, which, along with two female performer friends, they did. [title of show], which included all the doubts, false starts and stumbles any original musical goes through, all the personal back and forth, highs and lows, was so unique, and honest and entertaining, that it became an instant festival hit. Then it was a hit at Ars Nova, and later at a prestigious off-Broadway house, The Vineyard, and now, that little engine has climbed the mountain, and it’s opening on Broadway! Michael Berresse directs, and the two original women actors, Susan Blackwell and Heidi Blickenstaff, complete the four-person cast. I saw it at Ars Nova and loved it. I spoke with Hunter Bell, whom I have known from downtown theater for years.

First of all, Congratulations, Hunter. This has to be something amazing.
It’s great. We’re in the thick of it. Full tilt rehearsals. It’s insane.

So, have there been many changes?
Yes. We have been doing a reincarnation with each pass at it: first, the New York Theater Festival, then off-Broadway, the Vineyard, how it came about creating a show off-Broadway. Now we are incorporating what it takes, artistically and emotionally, trying to get a show like this on Broadway. Half of the show (now) is how to incorporate that situation, and what’s come up.

What are some of the new Broadway elements?
When Jeff and I first began writing it, it was for the festival; but in our minds, because we are dreamers, we were always writing it as a Broadway musical. We closed our eyes and had a Broadway audience in mind.

OK, but now you’re there.
Just the mere fact that the show is on Broadway, then the stakes change.

Like you’re talking in the show about “can we get to Broadway?” and you’re actually there at the time?
Yes. So how is that going to sound? There are a lot of people out there, from all aspects of theater, and lay people too, asking the question, “Does it belong on Broadway?” It’s rare for a small show, with just a keyboard and no set, to be a Broadway musical. People have expectations when they hear “Broadway musical,” because of Disney, etc. So we talk about it in the show.

Well, Passing Strange was a mold-breaker.
Yes. We met Stew at the Tony Awards. I was thanking all the mold–breakers. There’s hope for us.

You guys started out downtown.
We are kind of downtown weirdos, but it’s aninteresting blend of weird and traditional theater-loving. We all cut our teeth at P.S. 122 and Dixon Place. We don’t know what will happen up there. All four of us want to finish the journey. That it’s ever happened at all is a success. We can only create what we think is good and hope people come to see it.

Lyceum Theatre, 149 W. 45th St., (212) 239-6200, previews July 5, opens July 17. Mon., Tues., Thurs. & Fri., 8 p.m.; Sat., 3 & 8 p.m.; Sun., 3 & 7 p.m.; Weds., dark. $26.50, $51.50 & $101.50.