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A Conversation With Playwright/Actor Tom Alper, “The Pitch,” Odyssey Theatre, by James Scarborough

Tom Alper’s play “The Pitch” at the Odyssey Theatre dissects the ethical dilemmas and personal challenges faced by a single father in desperate circumstances. The story follows Tom Allen, a widower struggling to support his 15-year-old daughter through a morally dubious job in a boiler-room operation selling machine parts. Directed by Louie Liberti, the production features a mostly new cast, bringing fresh energy to this gripping story.

Alper’s script is reminiscent of David Mamet’s “Glengarry Glen Ross,” with its sharp dialogue and intense moral scrutiny, yet it distinguishes itself by intertwining personal and professional crises. The portrayal of Tom’s relationship with his daughter Michelle adds a touching dimension, highlighting the conflicts between parental expectations and a child’s autonomy. The ensemble cast, including Albie Selznick and Katie Silverman, enhances play’s impact.

“The Pitch” engages us with its blend of humor and drama, making us reflect on the cost of survival in a morally complex world.

JS: What inspired you to write “The Pitch?” How did your personal experiences influence its narrative?

TA: I had been working on this play for over ten years, but yet I had only completed three scenes. I kept it in a folder and carried it around with me wherever I went, telling people, ‘I’m working on a play.’ I then met my current producing partner, Christine Blackburn, who read what I had and said to me, ‘This is terrific, but are you going to wait another ten years to write a few more scenes?’ I then proceeded to finish the play in the next three months. As far as my personal experiences go they have completely influenced my narrative. As a young and not-so-young actor, I worked multiple sales jobs while also raising two daughters. While working in sales I was both fascinated and amazed that the simple, transparent manipulative sales techniques I was taught to employ, were so effective (not only in work, but in everyday life). However, the toughest job I ever encountered was raising two teenage daughters. It’s the most important thing I’ve ever done, and also the one I have the most regrets with. That’s why I wrote this play: to work through my issues with fatherhood and connect to people honestly and directly in an entertaining way.

JS: How do you balance the dual roles of playwright and actor in this production? What challenges have you encountered?

TA: I try and balance the dual roles of playwright and actor by taking myself out of the ‘writer’ role and just focusing on my Acting. I know my Director, Louie Liberti probably just passed out after reading that (I said, ‘I try and balance the dual roles.’). It’s a work in process. Most of the challenges stem from getting out of my way and trusting my talented and amazing collaborators. As an Actor, this has been an enlightening experience being on the other side of casting. I now see how many variables go into casting the right person for your project. Talent, while extremely important, is not the panacea for every production. It’s been an eye-opening experience as I have gotten tremendous insight into my trajectory as an artist.

JS: “The Pitch” has been compared to David Mamet’s “Glengarry Glen Ross.” How do you see your work in relation to Mamet’s? What distinct elements do you bring to this genre?

TA: No matter how proud I am of ‘The Pitch,’ I would never compare myself to David Mamet’s ‘Glengarry Glen Ross.’ Mamet won the Pulitzer Prize for his legendary play. He’s a theatrical icon. However, during last summer’s production one reviewer called my play ‘Mamet’s Glengarry Glen Ross for a new generation.’ (Coincidentally she’s been added as a beneficiary to my will). I would say my play is ‘Mametesque’ (if that’s a word) in its distinct elements of humor and edge. In addition, to separate myself from ‘Glengarry Glen Ross’ I added a poignant father-daughter subplot. So I would say my play has ‘humor, edge and heart.’ (Inspired by Mamet, my family, and my relentless pursuit of emotional stability).

JS: The character of Tom Allen faces significant ethical dilemmas. How did you develop his moral trajectory? What do you hope audiences take away from his journey?

TA: I developed the moral trajectory from my own true experiences working in sales. Originally I took a sales job because an actor friend of mine told me he just made $400K in one year selling electronic components. And I thought, if he made $400K, with my personality, I could easily make $500K in one year and then quit my $50K a year administrative job and concentrate on acting full-time for the next ten years. Well, in the first week, I quickly realized I wasn’t going to make $500k, but I did make more money than I ever had, although I worked 100 times harder than any previous job. While I was seduced by the constant adrenaline Sales gave me, I ultimately decided I did not want to work in an environment where taking shortcuts and being manipulative is a prerequisite for survival. What I hope audiences take away from my character’s journey, is when you’re facing real pressure, it’s possible to maintain your integrity and not deviate from your morals.

JS: Elaborate on the dynamic between Tom and his daughter Michelle? How does this relationship drive the play’s emotional core?

TA: To me, the daughter is the heart and soul of ‘The Pitch.’ Michelle is a 15-year-old star athlete and straight-A student who is both the woman of the house and the emotional caretaker for her father. (Her Mother passed away five years previously).

Desperate to pursue her interests and break away from her father’s ‘helicoptering’ parenting, she is also saddled with extreme empathy for her father (who is completely living vicariously through her achievements and accomplishments.). I tried to stay away from writing the typical self-entitled and moody teenager and tried to create a complicated, three-dimensional person. Their relationship drives the entire story and adds to Tom’s journey of realizing his child is not a reflection of himself, but a completely separate entity. And if he wants to be respected, which he’s desperate for the entire play, he must learn the only respect worth having is ‘self-respect.’

JS: How does Louie Liberti’s direction enhance your vision for “The Pitch?” What was your collaborative process like?

TA: Louie Liberti’s direction has taken my play to a completely different level. He asked me why I wanted to do this play again. I told him I had unfinished business and I thought the play still had ‘legs’ and I wanted my acting to be great. He said I had to give up thinking as a producer and playwright and just work on the character. I then asked him if he would take over the financial producing part and we both laughed. We then began to dissect the play and the character which led me to discoveries about ‘Tom’ and myself and I’m very grateful to him for his hard work, talent, dedication, friendship, and his empathic way of directing. He’s an ‘actors’ director. Being a terrific actor and writer himself, he knows how to talk to actors, and more importantly, bring out the best version of yourself in your performance.

JS: The play was staged last year at another theatre. Eight of the play’s twelve characters have been recast. How does this new cast bring fresh perspectives to the play? How have they influenced the interpretation of their characters?

TA: Actually, I’m using three (3) of the previous actors (myself included). I wish I could have brought everyone back, but due to scheduling and some other conflicts, I had to open up the different roles. The new cast has added energy, passion, creativity, and a completely different perspective on their characters. Quite frankly, they are taking my play to heights I didn’t think was possible.

JS: What thematic elements in the production will resonate with contemporary audiences in the context of today’s socio-economic climate?

TA: Even though this play takes place in 2006, the themes of manipulation, greed, trust, self-preservation, and pressure will resonate with contemporary audiences as these themes are ever-present in today’s socio-economic climate.

JS: How does the setting of a boiler-room operation serve as a metaphor for broader societal issues? What commentary are you making through this choice?

TA: The setting of a boiler room serves as a metaphor for sales, and manipulative dysfunctional relating. Whether you’re on Wall Street, running for Office, or working in a boiler room, manipulation exists because people feel ‘the only way to get what you want is to hide what you’re really asking for.’

JS: What are your plans for “The Pitch?” What other projects you are working on?

TA: The plan is for a fantastic run at The Odyssey Theatre Ensemble. This is a big step up for me and our production. Afterward, the ultimate goal and dream are to take this play to where I was born and raised (NEW YORK). I never thought I would get to the Odyssey, so with my producing partner, Christine Blackburn anything is possible. Other projects include working on a new play, and I’m always auditioning and pursuing other acting roles. I hope everyone in Los Angeles will come out and see ‘The Pitch.’ You won’t be disappointed: at worst you’ll have a great time. Thank you!

Performances are Fridays and Saturdays at 7:30 pm, and Sundays at 3:00 pm, from July 12 to August 4, 2024. Tickets are $30, with a discounted rate of $25 for students and seniors. The Odyssey Theatre is located at 2055 S. Sepulveda Boulevard, Los Angeles, CA 90025. For more information, click here

The Pitch poster