By Michael Buckley
29 Aug 2004

John Lithgow and Norbert Leo Butz, stars of Dirty Rotten Scoundrels

This month we speak to writer Jeffrey Lane, whose many TV credits include "The Days and Nights of Molly Dodd" and "Mad About You."

After realizing that he "wasn't having fun anymore" writing for television, Lane decided to pursue his first love and write for the stage. The result is Dirty Rotten Scoundrels. "To do a musical," says Lane, "is something I had always wanted."

Tickets go on sale Aug. 29 at San Diego's Old Globe, where the show's pre-Broadway tryout, starting September 19, is the theatre's premiere attraction of its 2004-05 season. Scheduled to open at New York's Imperial March 3, 2005, Scoundrels reunites part of The Full Monty creative team: David Yazbek (score), Jerry Mitchell (choreography) and Jack O'Brien (direction).

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Jeffrey Lane's yellow-brick road to Broadway began when he was "a gofer for 'Ryan's Hope' [the long-running TV soap opera], making $93 a week. I had been a paralegal for three months, but I wanted to direct. I had to schlep out to Brooklyn to pick up scripts. Those were the days before faxes and computers. Sometimes, the weather was freezing. But I was thrilled, because I was in show business.

"I'd bring the scripts back [to Manhattan] and Xerox them. I had to go to Xerox-training school. They taught you how to put toner in, and I got a certificate that named me as a key operator. I can't find it; I wish I could. I'd have it framed."

MGM gave us the yellow-brick road and also presented Lane with his first book for a Broadway musical. "The studio has a list of properties that they're looking to have optioned and developed as musicals — everything from 'The Exorcist' [Frank Wildhorn, take note] to Billy Wilder's 'Avanti.' I went over the list. For some reason, [Scoundrels] kind of stuck out. It was just a gut thing. I met with [studio people] and talked about what I wanted to do. They said, 'Who would you want to write the score?' I said, 'The one person I think is really writing funny, inventive lyrics and superb music is David Yazbek.

"It turned out that David had called them about a year before, asking about the same project — and then never followed up on it. David and I met in New York, and realized we wanted to write the same show, and just started writing together."

Lane claims that the 1988 movie, "Dirty Rotten Scoundrels" (starring Michael Caine and Steve Martin as con men), "has a wonderful structure and terrific characters. Of course, you have to adapt [the screenplay], bring out this character, pull back that character, clarify things.

"I wrote an outline, and David and I talked about it. Then, I went off to write a first draft. I think David wrote two songs while I was writing the book. [The process] took two years, which everyone tells me is lightning-fast. It's been a really nice collaboration. Last week, David burped, and I said, 'Excuse me.' [Laughs] It was completely unconscious. I thought: Either something's really good — or really scary."

As a way to become a director, Lane's original ambition, he started writing. "Then, I realized this is what I wanted to do. I started writing for 'Ryan's Hope,' moved to L.A. and started writing on 'Lou Grant.' I did two scripts the last year. Then April Smith, who had been the story editor on 'Lou Grant,' became a producer on 'Cagney and Lacey,' and hired me on staff for that."

He wrote for series and scripted several of the American Film Institute tributes, including those for Gene Kelly, Barbara Stanwyck, Billy Wilder and Gregory Peck. "My film professor, Jeanine Basinger, was on the board of AFI, and recommended me to George Stevens [Jr., producer of the salutes]. Suddenly, I was meeting all these people who were the reason I started writing. When I met Audrey Hepburn, I went mute, and had to bring myself back. It's great when you meet these people and think: 'Jesus, I'm sitting here, talking to Gregory Peck.' He was the kindest, warmest, most generous man — a true gentleman. [Working on the AFI shows] was an amazing experience!"

There was a series from which Lane removed his name before its premiere. States Lane, "It was a mess. The one regret I had in jumping ship was that Eileen Heckart [who had a supporting role] was in it. She was wonderful. She took a no-nonsense, this-is-a-job approach. It's great that she got to do The Waverly Gallery at the end — that she had that last hurrah."

"The Days and Nights of Molly Dodd" was an enjoyable experience. Lane thinks that its creator, Jay Tarses, "is an amazing writer, and Blair [Brown, who starred] is a dream to work with. I really loved working with her. I did a few scripts for that, and at the same time, was creative consultant for 'Slap Maxwell,' which Jay was also doing."

A project that Lane very much liked was "The Murder of Mary Phagan," which won a 1988 Emmy as Best Miniseries of the season. The fact-based story of a 13-year-old Georgia girl who was killed in 1913, the drama starred Jack Lemmon as Gov. John Slaton. "Lemmon was much older than the governor he played, but once you saw him in the role, you couldn't imagine anyone else," remarks Lane. The cast included Peter Gallagher (as the accused Leo Frank), Kevin Spacey, Richard Jordan, Charles Dutton, William H. Macy, Cynthia Nixon, Paul Dooley and Robert Prosky.

Along came "Mad About You" (1992-2000), starring Paul Reiser (also its co-creator) and Helen Hunt. Lane recalls, "That was great! I loved working with working with Paul and Helen. I was only supposed to do six months. I was working on some miniseries, and I thought: 'This will give me a life.' I wound up having no life for three years, but it was worth it. It was a lot of work — twelve-hour days, six-day weeks — but it was something I could really be proud of, and was happy to do."

Bette Midler starred in the 2000-01 sitcom, "Bette," for which Lane was a writer-producer. "It was not a good experience. Bette's a wonderful entertainer; we had wonderful people on it. Sometimes, it just doesn't work. It was frustrating. We went into it with the best intentions. No matter how hard we tried, we just couldn't make it jell. If I were happy with how the show came out, I could say, 'We did a great show and nobody watched it.' But that's not true. That's when I thought: 'I have to try something different.'" Continued...

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