A Conversation with Writer/Director Fritz Brekeller, “Foxy Ladies Love Boogie 70’s Explosion!”, Three Clubs Stage Room, Hollywood Fringe Festival, by James Scarborough

“Foxy Ladies Love Boogie 70’s Explosion!” directed by Fritz Brekeller, is an audacious and nostalgic journey through the 1970s that celebrates the era’s iconic music and formidable women. Premiering at the Hollywood Fringe Festival, this rock musical revue captures the essence of the decade known for its cultural upheavals, musical innovations, and flamboyant fashion. Brekeller navigates through over 70 musical numbers, ranging from the heartfelt melodies of Karen Carpenter to the electrifying disco anthems of Donna Summer. The show celebrates both an era and the women who defined “The Me Decade.”

Brekeller brings to life a high-energy spectacle. Choreography by Ashley Wren Collins and musical direction by Joel Rutkowski ensure that each performance is both a visual and auditory feast. The cast, including Charlotte “Charlo” Crossley and Karla Mosley, embodies the spirit of the 70s. Their performances resonate with themes of empowerment and resilience. The costume design by Veta Horwitz further immerses us in the period.

The production evokes a sense of nostalgia while it engages with our own sensibilities. Brekeller’s showcases his ability to blend historical homage with current relevance. This festival of music, dance, and the enduring power of strong women testifies to the timeless appeal of the 1970s and Brekeller’s prowess as a director.

JS: Your work often involves a deep engagement with cultural and historical themes. What inspired you to create a rock musical revue centered on the 1970s and its strong female figures?

FB: I wish I had a deep, profound answer for you but the truth is back in the 1980’s I saw a musical revue in Greenwich Village called Beehive. It’s a tribute to 1960’s girl groups. I was obsessed with it. I loved the music so much and very much wanted to do a production. But when you live in NYC, folks don’t want to see a re-hash, they want something new. So, one day while listening to my cassette of Beehive’s Original Cast Recording, I decided to create a similar style show but use music from the 1970’s. Once I started working on it, I started seeing the impact women had on music in that decade – and all the things that started changing for women in general in those years. It was then that I knew I was on to something bigger than I had planned.

JS: The production features a wide array of musical numbers. How did you select the songs? What criteria did you use to encapsulate the spirit of the 70s?

FB: When I first was putting together the show back in the 1990’s, I had a book of Billboard hits through the years. If a song charted in the top five, it made my list. At that time, I excluded songs from groups and only used solo artists. When reimagining the show now, I looked at who were the top performers from the decade and removed the group rule, as long as  the lead singer was a female and I allowed songs that ranked lower than 5 on the Billboard charts. We try to tell a story of change for women with the show, so songs that helped shape that narrative made the cut. I have a playlist of about 30 other songs that I love but didn’t make it. Even as we’ve been in rehearsals, our song list has changed!

JS: Discuss your collaboration with choreographer Ashley Wren Collins. How did the two of you integrate dance into the narrative?

FB: Ashley and I met while working at the performing arts camp, Stagedoor Manor back in the summer of 1997. She was the choreographer for all three of the shows I directed there. We worked really well together and when we returned to NYC, I decided it was time to make the Foxy Ladies a reality and she was the obvious choice to choreograph. (Our costume designer from Stagedoor, also did the costumes for the original production!) I love dance and this is a dance heavy show. I mean the second half of the show is a disco party – so in many ways, the dancing is the story!

JS: The 1970s was a decade of significant social change. How does your musical address or reflect upon the feminist movements and cultural shifts of that time?

FB: I often describe the show as a “pop culture travelogue of the decade.” The ERA and the women’s movement play a big part in the show. Our “story” starts at the beginning of the decade with hippies and conservatives and as we move through the ladies literally let their hair down and start to shed their skin. Even though the disco movement was about dance and sexual freedom, we embrace the solidarity of the sisterhood. Prior to the 70’s, women generally sang love songs but as we progress through the 70’s, women were finding their voices and speak up and speaking out. We have a section of love songs about betrayal. We also discuss how women’s roles on television were changing and started to not only make women the leads but gave them more accurate portrayals in the work force, at home and in the world. It was no longer shameful for a leading lady to be divorced.

JS: Given your extensive experience in the soap opera world, how does directing a stage musical compare to directing for television, particularly in terms of storytelling and audience engagement?

FB: One of the things that drew me to the soap world is its similarity to the theater. The sets are like small stages and the cameras are the audience. We just do a new play every day on the soaps. For me, soaps are the best of both worlds. That being said, doing a musical is very different than doing television – especially the rehearsal process. We have a very short amount of time to rehearse on the soap and never enough time to rehearse for the theater. But both are heightened realities and both explore social issues. I love that.

JS: The show features a talented and diverse cast. How did you approach casting for the production? What qualities were you looking for in your performers?

FB: The show is all about the music, so we were looking for strong singers first and foremost. If you were a strong dancer, great – but good movers were welcomed too. The original production in 1999 had all white women, so we knew that could not be the case today. Also back then, they were all around the same age. I’m proud to say we have an ethnically diverse cast as well as a range of ages and physical types. We got super lucky with the amazing women in our show today. In fact, one of our cast is not able to dance, so I created a new role and she does much of the dancing for her. We call her Boogie Love – and boogie, she does. 

JS: Costume design plays a crucial role in setting the tone for period pieces. Explain your collaboration with Veta Horwitz. What’s the importance of fashion in bringing the 70s to life on stage?

FB: Our designer, (who goes by Veta Adrion) – has been a huge part of creating the look and style of the show. I still had a majority of the costumes from the original production (I’d been saving them for a revival someday, go figure) and tasked her to try to integrate them. She has done an amazing job of using some of those pieces in new and interesting ways, while finding new pieces to compliment them.  Interestingly enough, lots of the styles from the 70’s are returning today (bell bottoms and bell sleeves), so we were able to find things relatively easily. There are also a lot of vintage shops in LA, so many of the looks are authentic!  The 70’s were a super fun fashion decade and we’ve had a ball dressing the ladies. They change costumes a lot – so the clothes play a big part in the show.

JS: With over 70 musical numbers, how did you engage the audience without overwhelming them?

FB: Well James, that remains to be seen. The original production had 42 songs in it and for the most part they were complete songs. Today we have 81 songs (!!!). But they are just portions of songs, samples if you will. Most people are fixated on their phones today and I see, especially younger people, scrolling through their social media. They swipe, swipe, swipe and occasionally, sit on something for a minute or two, then go back to swiping till the next thing catches their eye. That was my approach to the show. We have eight sections; each starts and ends with big production numbers – and in between are a bunch of little samples. Folks who were around back in the day will remember all those little nuggets and the younger audience will (hopefully) get a nice taste for the tunes.

JS: Your production celebrates both the music and the women who defined the 70s. How did you balance these elements to create a cohesive and impactful narrative?

FB: Again, that remains to be seen but I think the music is so great and the way we have sectioned it off shows both the political conflict and the fun-loving side of the decade. The show tends to be a little cheesy but the strong messages are always lying underneath.  I think there’s a nice balance. Every one of these songs is fantastic. I know I’m totally biased but I’ve been listening to this playlist since last summer and I never get tired of it.  It’s just great music. And the events of that time have very much shaped who we are today. I’m glad I grew up then.

JS: What do you hope contemporary audiences take away from “Foxy Ladies Love Boogie 70’s Explosion!” in terms of its relevance to today’s social and cultural landscape?

FB: There are so many parallels to things we are dealing with today – that people delt with back then, it’s almost worrisome that we have not grown in the last 50 some years. For example, there’s mention of Roe v. Wade and women having a choice that was awkward for us now. However, many things have changed for women in that decade and since. For example, it wasn’t until 1974 that a woman could get a credit card in her own name. Up till that point, her husband, father or brother  would have to give her one of their cards. That blows my mind. We have Bella Abzug and President Ford to thank for making that happen. It’s just one of the many milestone from the 1970s. So, I hope audiences see the strives we’ve made – and most importantly, I hope they celebrate the incredible music that generation created. I hope our little show helps those songs live on forever!

The show runs from June 9 - June 24. Performances are Sunday, June 9 @ 7:00pm |Saturday, June 15 @ 8:00pm | Sunday, June 16 @ 4:30pm | Friday, June 21 @ 10:15pm |Monday, June 24 @ 7:00pm. Tickets are $25. The Theatre is located at 1123 N. Vine Street, Los Angeles 90038. For more information, click here.