A WILD THING is the love child of Shakespeare’s Twelfth Night, and the youthful renaissance of the 1960s, a comedy of love, lust, gender and conflict with a man on a power trip. It was partly developed at the Mercer Writers Colony at Goodspeed and was a Finalist for a 2024 Dramatists Guild Foundation Fellowship. Initially written for the stage, there's also a screenplay in the works.
THE STORY: On the California coast, Violet survives a storm that drowns her twin brother. Orphaned and forlorn, she lands on a beach where her brother's suitcase washes ashore. On impulse, she climbs into his clothing and restarts her life as a boy. She soon falls in love. Wearing the wrong clothes.
"An adaptation like no other..."
CONCEIVED during three different stage productions of 12N, this musical puts elements we love about the original into a new context. Violet the emotional heart of the play loses her twin brother and sets out to build a new life wearing her brother's clothing. She meets Morrison, a rock star in love with Olivia whose brother was killed in Vietnam; and Jackie Lee (Feste), a veteran Black blues singer; and Malcolm (Malvolio), the narcissist we can laugh at... until he vows revenge...
10 principals: 6 men 4 women + ensemble
There are demos of 25 musical numbers., including a recent session with legendary sax player, Lou Marini (original Saturday Night Live Band, Blues Bros., etc).
CONTACT: To request complete book & score.
Q&A
1. Why did you write it?
After being involved in three different productions of 12N, there were aspects of the original play that I kept wanting to dig further into: to find a deeper sense of relationship for Violet and Morrison, for the ending to not be a foregone conclusion, and to create a scenario where love is still possible, no matter how awkwardly it starts. And it was an irresistible opportunity to write the music.
2. Why the 60s?
For me the 60s - viewed through the eyes of childhood and early adolescence - was a period of possibility, of transformation even, which are the constant challenge of humananity. And the period coincided with my own need to leave home and re-invent myself.
3. The book was adapted? Do the characters use Shakesperian speech?
The characters speak as people did in the 1960s.
4. Is this a jukebox musical with 60s songs? A 60s DooWop musical?
A Wild Thing has an all original score. The songs were written now and incorporate stylistic elements of the '60s, including rock, folk, pop, R&B. There's even a bossa nova.
5. Are the characters the same as in Shakespeare?
They are similar in personality but many have been transformed into a different type of person. Ex: Shakespeare's Feste has become a Black musician, a veteran blues singer, Jackie Lee.
6. Are the characters hippies?
Some of them could be thought of that way. But some are not which provides conflict in the story.
7. Is the show ethnically diverse?
There are several ways to cast the show. All of them authentically express the diversity of the period.
8. Is the show complete?
Yes. There is a late stage draft of the book and orchestrated recordings of the complete score. A concept album and screenplay are in the works
BIO:
MICHAEL MEDEIROS (book, music & lyrics), was born of Portuguese and Norwegian parents and raised in Hawaii. At the University of Hawaii, he began as a music major, but after being stricken by a production of Arthur Miller's, The Crucible, he moved into theatre and never moved out. In his third year, he played in Coriolanus with Irish acting legend, Cyril Cusack (Farenheit 451) and Macbeth with Timothy Dalton (later James Bond), winning the UTG Award for best undergraduate actor.
FAST FORWARD: Michael joins the Mercer Writers Colony at Goodspeed with his rock musical, A Wild Thing. He was also a Finalist for a 2024 Dramatists Guild Foundation Fellowship. Other works for the stage include, The Fallen, a post Civil War telling of Chekov's Cherry Orchard and Billy Burnham's Dream, a musical about the demise of the modern pop music industry. He has been an onstage instrumentalist at Goodman, Long Wharf, Huntington & Great Lakes Theatres among others and is a member of Bobby Moresco's Actors/Writers Gym in NYC.
Films as writer/director, include Underground, 3 Minutes and the indie feature, Tiger Lily Road starring Tom Pelphrey, which won an Audience Award for Best Comedy at Woods Hole, Best Screenplay at Cincinnati FF and ran at NYC's Quad Cinema. Screenplays in development include a vampire origin story, Young Van Helsing, a pilot about mass shootings and the screen version of his rock musical, A Wild Thing.
Trailers for his films at: www.michaelmedeiros.com/direct
AS AN ACTOR on stage and screen, Michael has worked in theatres in New York and across the country, including 1776 at City Center Encores, directed by Tony winner, Garry Hynes (Druid Theatre), Museum at Joe Papp's Public Theatre, directed by Max Stafford Clark (Royal Court), Trestle At Pope Lick Creek at Actor's Thetre of Louisville, directed by Adrian Hall. He won critical acclaim for Camino Real at Chicago's Goodman Theatre and has also appeared in Violet at Playwrights Horizons, Ah Wilderness at Circle In The Square, Outrage at the Kennedy Center, The Front Page at Long Wharf and five plays at Baltimore Center Stage. He has played Feste in three different productions of Twelfth Night at Huntington, Great Lakes and Arizona Theatres and has sung the title roles in Sweeney Todd and Man of La Mancha. His many SCREEN APPEARANCES include X-Men First Class, RoboCop2, Synecdoche New York, a recent recurring role on Manifest and seven episodes of Law & Order. He loves cats and dogs equally.
The composer sings "Brother Blues" from the
score ofA WILD THING.
A short clip from the Finale, featuring legendary sax man, Lou Marini (original Saturday Night Live Band, Blues Bros., etc).
SYNOPSIS:
ACT I
In a 60s rock club, veteran Black bluesman, Jackie Lee sings "Love Is A Wild Thing," seducing the crowd. When rock-star recluse, Morrison wanders in, he's captivated by the music, then spirals down as the words hit too close to home. Meanwhile, on the coast, a young woman, Violet emerges from the sea after surviving a storm that took the life of her twin brother. Alone and heartsick, she dresses in her brother’s clothing and sets out to make a new life...as a boy.
She finds work with Morrison who has fallen for Olivia, the local town beauty. But Olivia, herself in mourning for a brother killed in Vietnam, rejects all advances... until the bluesman, Jackie Lee, an old family friend, cajoles her back to the land of the living. Then Violet (aka Daniel) arrives, sent by Morrison as his “love messenger.” She sings so passionately in his behalf that Olivia is smitten with him/her. But Violet herself has already fallen for Morrison.
Then this unrequited love train takes on a new set of passengers. Unknown to Violet, her identical twin brother Sebastian shows up, very much alive and grieving for his "dead" sister. At Olivia’s, the family lawyer, Malcolm Butler has been slowly worming his way into her life, alienating her Uncle Toby and housekeeper, Maria. Egged on by Toby, Maria hatches a plot to bring Malcolm down. They are joined by Tyrone, the gardener and young Andrew, a rich kid, weekend hippie with his own fantasies about Olivia. Maria forges a letter which utterly convinces Malcolm that Olivia has a mad lust for him.
ACT II
Back in the Rock Club, a trio of ladies reprise Jackie Lee’s opening song, reminding us that love truly is "A Wild Thing." And it’s about to get wilder... Violet returns to Olivia who comes on strong, pulling her into a sensuous Bossa Nova/Tango. After seeing them dance, Andrew burns with jealousy. Back with Morrison, Violet tries to reason with him about his obsession with Olivia. But Morrison storms off, leaving her to wonder what now will show her the way.
Hilarious complications pile up. As instructed by the letter, Malcolm sheds his conservative look. Dressing in every cliche of hippiedom, he thrusts himself upon Oliva who flees in terror. Undiscouraged, he convinces himself that she really does dig him. Toby gleefully has him locked in the old outhouse. Then Toby orchestrates a fight between Andrew and Violet/Daniel, neither of whom wants to engage. Olivia sees Sebastian in front of her house and mistaking him for Daniel, lures him seductively inside. Later, down at the outhouse, Jackie Lee, impersonates a yogi and interrogates Malcolm, revealing him to be the full-blown bigot we suspected. Along with his "disciples," he begins a ritual to exorcise the demon out of him until interrupted by the arrival of the police.
Finally, the dam of confusion breaks. The twins discover they are both alive. All becomes clear and all love problems resolve...but not for Malcolm. Seeing how completely he’s been fooled, he spews an ominous cloud over the proceedings, vowing revenge... until Violet, stands up to him, telling him the simple truth about himself. Jackie Lee starts the finale, "Fire & Rain," and as Violet and Morrison begin to discover each other in this new reality, we are reminded: though there will always be storms on the horizon, it's our love that shows the way.
LYRICS (excerpts)
#1. A WILD THING -- Jackie Lee & Company
LOVE IS A WILD THING
THERE AIN’T NO CURE
ANGEL OR DEVIL
NEVER KNOW FOR SURE
HEARTBREAK HOTEL
JUST AROUND THE BEND
AND THEN YOU’RE ROLLIN’
ON THE RIVER AGAIN
LOVE IS A WILD THING
BIG WHEEL TURNIN’
AND THE NIGHT BIRD SING
MAD HEART YEARNIN’
BAD MOON BURNIN
LOVE IS A WILD THING
#4. BROTHER BLUES -- Toby, Maria
WHAT A PLAGUE OF MY NIECE
TO TAKE THE DEATH OF
HER BROTHER THIS WAY
WHAT A PLAGUE OF THIS YEAR
TO STEAL THE BREATH OF
MY NEPHEW AWAY
WHAT A PLAGUE OF THIS WORLD
TO FIND ANOTHER
YOUNG SOLDIER TO SLAY
WHAT A PLAGUE OF MY SOUL
TO WALK THE GROUND
WHERE THEY LAID HIM AWAY
#9. I AM THE MAN -- Violet
I AM THE MAN
IF IT BE SO AS TIS
SHE'S UNDER SOME DELUSION
wWHAT MY GENDER IS
SOMEHOW IT FILLS A
NEED INSIDE OF ME
LIKE TAMING RIVERS
TO MY DESTINY
OR CLINGING TO MY
BROTHER'S MEMORY
#24. HELTER SKELTER -- Malcolm swears revenge.
ONE DAY I WILL COME BACK
AND ALL YOUR PAISLEY
HEARTS WILL CRACK
YOUR PRECIOUS PURPLE HAZE
I’LL PAINT IT BLACK
I’LL BE THAT COLD METALLIC
RINGING IN YOUR EAR
TO EVERY THING
THAT YOU HOLD DEAR
I WILL BRING FEAR
AND ALL THE LAND WILL SWELTER
AS THE PEOPLE CRY FOR SHELTER
WHEN THEY PLAY MY
REVOLUTIONARY GAME
HELTER SKELTER
HELTER SKELTER