When it comes to writers with legendary backgrounds, look no further than Iris Rainer Dart and MIke Stoller.
In addition to Beaches, the novel which she and Stoller have turned into a Broadway musical, Dart was the first (and only) female writer for Cher’s television variety show (in addition to The Sonny and Cher Show), and penned eight books. Stoller, with his writing partner Jerry Lieber, is the coauthor of songs like “Hound Dog,” “Jailhouse Rock” and “Stand by Me.”
Dart and Stoller first collaborated in 2011, on a short-lived a Broadway musical called The People in the Picture (at the start of our call, Dart proudly exclaimed that we—TheaterMania—were the only outlet to give it a positive review). Beaches came about a long while later, after earlier attempts at musicalizing Dart’s best-loved property, were abandoned. And all it took was a phone call to her ever-reliable pal.
This conversation has been condensed and edited for clarity.
Iris, going back all the way, where did Beaches come from? Iris Rainer Dart: Well, my best friend said to me—we were in our 30s at the time—”When one of us dies, I hope it’s me first because I couldn’t live in a world that doesn’t have you in it.” And I felt the same way about her. I had to write about that. I wrote three chapters and an outline. My TV agent sent it to a publishing agent, and people said, “It’s nice writing, but no one cares about two little girls on a beach in Atlantic City. Does she have anything more commercial?”
My first husband was in the mailroom at MCA Records, and I knew all the guys who were in the mailroom with him. So I said, “Yeah, I have an idea that’s so commercial I’m embarrassed to write it.” But I did. It’s a trashy Hollywood novel [The Boys in the Mailroom], and it was a big success. Then, of course, everyone said, “What happened to that great thing you tried to sell us about those two little girls?”
I originally wrote it about and for Cher. I was the first and only woman writer on Cher’s TV show. The guys were terrified of her, so they would say, “Go into her dressing room and find out what she wants to talk about.” I had a wonderful relationship with her. She’s very funny, she’s very warm. She’d be putting on her own makeup, I’d be sitting in a director’s chair next to her, and we’d talk and talk for hours. She inspired the character of Cee Cee.
When did Bette come to be involved? Iris: I had sent the three chapters and an outline to Steve Dart, my boyfriend at the time, and he said I should get it to Bette Midler. I knew someone who knew Bette, and I got it to her, and she got it to Bonnie Bruckheimer, who was Bette’s producing partner.
I still remember this: on a Sunday, Bette’s agent called me and said she wants to meet with me. I went to her house, and she walked in, no makeup, and she was wearing tights and a long man’s shirt. The first thing she wanted to do was stand back-to-back and see who was taller. She was, but not by much. At a certain point, she said, “Someday, I’m going to make this into a movie.” She was at Paramount with Michael Eisner and Jeff Katzenberg, and they moved to Disney, and she said, “I want to produce something.” And it was Beaches.
How far back do you and Mike Stoller go? Iris: We met in 2000. The original reason I wrote The People in the Picture was because Bette asked me to write her a musical, and I wanted to find material that did what she does, which is turn your emotions on a dime. Bonnie Bruckheimer asked Mike if he’d meet me, and I read the whole thing to him. When I looked up, a tear was rolling down his cheek. And he said, “I’m in with one foot.” I said, “What’s it going to take for both feet?” He said, “Send me some lyrics.” I sent him some lyrics for three different songs and he said, “Where’s the rest?” So that was it.
Mike Stoller: Working with Iris is an amazing, amazing thing. The music just happens. But what she does? The story and the events and the jokes and the tears? Oh, boy.
Obviously, The People in the Picture was not terribly well received on Broadway. Iris: We never were able to have an out-of-town tryout because we wanted Donna Murphy and she didn’t want to go anywhere else. At any rate, I don’t regret it, because I got to be with Mike Stoller and [cowriter] Artie Butler and write a musical. And this is how we learn. We saw Beaches in Calgary and we knew what to do to get it to this step now. We’ve had a great time working on it, and we’ve had such fun.
Tell me about seeing Jessica Vosk and Kelli Barrett bring these roles to life. Mike: They’re fabulous. They’re both terrific. They’re a great combination because they’re both very together, but very different. Jessica’s a powerhouse, funny as can be. Kelli’s got a gorgeous voice, just gorgeous.
Iris: First of all, Kelli is so brainy. She is so smart. She and Mike talk about poker. Mike said, “Let’s play sometime.” And she said, “Mike, I don’t want to take your money.” She gives me notes and she apologizes, and I say, “Honey, you’re just making me look good.” She has wonderful ideas, and her acting is superb. I went to see Jessica at the 92nd Street Y. I’ve never seen anyone, except maybe Bette, who is that comfortable on stage. It’s as if she walked into her own living room and we all happen to be there.
What is it like to open this show on Broadway at this point in your historic careers? Mike: I’m concerned about so many things, but I saw in Calgary the power and joy of what Iris created. But there are little girls in this production, and the little girls we had in Calgary, number one, they’re Canadian; number two, they’re probably taller. But they were such fabulous actresses that I hope we get the same wonder out of the new little girls.
Iris: You are not going to believe it. There’s one little girl, I said, “She’s as if Henny Youngman came back from the dead.” She’s that funny, she tells a joke like you can’t believe, and she’s only four feet tall!
