Things To Ruin
Things To Ruin
By Joe Iconis | Conceived By Joe Iconis and John Simpkins
THINGS TO RUIN is an incendiary collection of song by Kleban and Larson Award Winner Joe Iconis. Originally directed by co-conceiver John Simpkins, THINGS TO RUIN is a theatrical rock concert about human beings who are messy, emotional, drugged up, knocked down, inspired, electric and who don’t have nearly enough time to cause the kind of commotion they so desperately need to. Variety called it “So much fun that it’s a little overwhelming – ‘transporting’ is probably the best word!” Please Note: THINGS TO RUIN contains profanity, adult themes and references to sex, drugs and rock n’ roll. It therefore may be inappropriate for younger performers and audiences.
Description Tags: RevueSocial ThemesSomething DifferentMinimal Sets and CostumesContemporary.
Cast Size: Small (1-10). Vocal Demands: Moderate. Dance Requirements: Minimal. Good For: High SchoolCollege/UniversityAmateur/CommunityProfessional TheatreOther.
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About The Show

Production Info


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  • Quotes
"Songwriter Joe Iconis' deft ability to fuse an ear-catching melody with a driving beat and his decidedly offbeat worldview gets a fantastic showcase in this two-disc set. Whether he's spinning a quirky pickup song ("Nerd Girl" - complete with Scooby Doo references), a pungent musical soliloquy ("Mamma, Cut Me Deeper"), or a ballad laced with irony to disguise emotion ("Albuquerque Anyway"), Iconis' talents are unmistakable." — Andy Propst, Theatermania, January 01, 1970
“[M]usic that kicks 1960’s-style pop tunefulness with hard post-punk beats... Mr. Iconis recalls the excitement that surrounded Marc Shaiman, Jonathan Larson and Jason Robert Brown... I would call ‘Things To Ruin’ the beginning of something, except that it is already well underway.” — Stephen Holden, The New York Times, November 16, 2008
"Iconis seems hell-bent on finding all the commonly shared emotional moments that nobody else has yet set to music. It’s so much fun that it’s a little overwhelming – ‘transporting’ is probably the best word!" — Variety, January 01, 1970
“This bold and prolific musical theater writer, Joe Iconis isn’t just hot; he’s boiling. Things to Ruin is a revue of his bawdy and profane – and sometimes very poignant – songs.” — TheaterMania, January 01, 1970

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Writers Notes for Things To Ruin


Written By: Joe Iconis & John Simpkins

A FEW WORDS FROM JOE (who wrote the thing) AND JOHN (who directed the thing)

Hey there!  Welcome to the world of Things To Ruin.  We’ve been living in this world for quite some time and are excited to have some company.  Before you dive in, we wanted to explain some stuff, offer some suggestions, and give some advice.  Feel free to take every word to heart or ignore every damn thing we say.

WHAT IS THIS THING?

Things To Ruin is its own beast.  Some of the songs were written specifically for the show, some of the songs found their way into the show.  The themes and ideas and characters are intentionally vague and we very purposefully did not connect things in an obvious or explicit way.   This is a show that operates in feelings, gut emotions, and collective power.  The hope is that the audience leaves the performance venue feeling as if they’ve seen a piece of musical theater, but are not entirely able to describe what they’ve seen.  If you have to give it a label, call it a Theatrical Rock Concert.  Or something better.  Just don’t call it a song cycle.  Cuz who the hell wants to see a song cycle?

WHO IS IN THIS THING?

The assignments of the songs (Dude 1-4 and Lady 1-4) allow for each performer to have a sense of arc and character.  To us, there was a reason why each actor did the songs that they did in the original production.  It was based largely on the people we were working with – and the information we learned about them as humans and artists.  Feel free to change the song assignments as you learn about your cast, but know that the map we’ve laid out tends to work real well.  We’re sure that there are many variations of this – and are excited to see what you come up with.  A word about the song “The Guide to Success” – Joe sang that song from the piano in the only moment that the cast spent offstage in the entire evening.  That made perfect sense for us.  Maybe you have someone in your band for which this would be a nice feature.  We liked that there was a moment midway through the show that was specifically about our onstage band (after all, they are part of the cast, right?)  Especially if it’s the only song that they’re singing solo – its exciting, inclusive, and kind of mysterious.  If you can’t make something like that work, just have a cast member sing it.  (Same goes for the bit of “Bar Song” that Joe sang in the original production.)

WHAT DOES THIS THING LOOK LIKE?

In terms of the physical production, the original show was actually a series of performances at different NYC venues – all different sizes, shapes and feels.  Some were traditional proscenium theatres, others were rock clubs or concert venues or cabaret rooms.  What we found worked in all of those places was a sense of the environment being as rough around the edges as possible.  Like a show that a bunch of people had a hand in creating.  Our cast was in each venue with us coming up with ideas of how the space could be used, helping to set it up, finding things in each space that would make it unique to that experience on that night.  Because Joe was sitting at the piano and the music was literally emanating from the composer, we chose to center the piano in whatever space we had and have the action move around and on top of the piano.  A well constructed but simple platform that extended over the piano allowed for the cast to feel like they were really “on top” of the music.  It also allowed this shared feeling of frustration that the show has at its core to escalate – literally attempt to climb out of the space.  Some other simple stools, cubes, chairs, mic stands, etc. can make the show feel like it is constantly changing locations – but all originating in the same world.  We dressed the space with items that helped create a safe environment for the characters (carpet squares, bottles of booze, etc.) and some images from the “real world” that were opinions on politics, pop culture, and more (clippings of magazines and newspapers that covered the cubes, platforms, and walls.)  The overall vibe is rock and roll, dangerous, warm, fun, and ramshackle.

WHAT DOES THIS THING FEEL LIKE?

These were our guidelines for ourselves as we were finding the tone of the piece:

*The spirit of the show is not slick or sexy.  It is about regular people.  Small people with huge problems, or problems that Feel huge to them.  This doesn’t mean that it doesn’t need rehearsal – in fact, quite the opposite.  But the finished product should never look finished.  It should look and feel at every moment like the characters have no script, staging, or choreography.

*Nothing should be “comfortable” in the singing or staging of the show.  The people in this show are on the verge of something huge and are chomping at  the bit to make the leap.  They have a lot to prove and not enough time to prove it.  They are restless and fired up and will forge their place in the world,  regardless of consequences.  None of that leads to polite singing or staging.

* The cast should be involved in the process as much as possible.  Ask them questions about their feelings, dreams, and fears – and how these particular songs intersect with their lives.  This was the most surprising and  powerful part of our process – learning that the songs had so many different interpretations and applications from actor to actor.  It is what makes the show exciting to an audience—so take great pains to make sure that your opinion isn’t always the only one allowed into the room.

*The actors should, where possible, all stay onstage the entire evening and “support” each other – even when not in the actual location with them.  That leads to the community and group feeling of these songs and this group of people.

*There shouldn’t be costumes, just clothes.  Regular clothes that humans wear.  They can absolutely relate to the people who are performing the show – but resist   the urge to have the nerd wear glasses and a pocket protector.  And don’t have the War Song dude wear military fatigues.

WHAT ELSE?

If you could, have a song list in the program and refer to it as a “Set List” as opposed to “Musical Numbers” or anything else.

If you could, use the real names of your actors instead of Dude 1 and Lady 1.

If you could, don’t change the lyrics.  We like them how they are.

ONE LAST THING

As we said earlier, please use these guidelines and suggestions as much as they’re helpful to you.  Use them as bible or throw them out.  This is your rodeo.


Performance Tools for Things To Ruin

Playbill VIP:

MAKE YOUR OWN PLAYBILL! Playbill VIP allows you to create your very own Playbill Program. We have provided Playbill with all of the credits, song listings, musical numbers and more so that most of the work is already done for you. Just add your productions details, photos of the cast and share it with all of your friends. Learn more: www.playbillvip.com


Rental Materials for Things To Ruin

STANDARD

  • THINGS TO RUIN - Orchestration Package (4 Books/4 Players)
    • 1 – Piano Conductor Score
    • 1 – Guitar
    • 1 – Drums
    • 1 – Bass

ADDITIONAL

  • THINGS TO RUIN - Pre Production Pack
    • 1 – Libretto-Vocal Book
    • 1 – Piano Conductor Score
  • THINGS TO RUIN - Libretto-Vocal 10 Pack
    • 10 – Libretto-Vocal Book

Cast Requirements for Things To Ruin

PRINCIPALS
5 Men
4 Women

CHARACTERS
Dudes 1-4
Ladies 1-4
Band Leader*

* In the original off-Broadway production, author Joe Iconis played piano on stage and performed songs listed for Band Leader. The songs for the Band Leader may be performed by someone else to suit the needs of your production.

Set Requirements for Things To Ruin

THINGS TO RUIN is performed on a unit set.

Materials Notes

Media Rights

Promotional

1. The Promotional Video shall be recorded and shown for the sole purposes of advertising your licensed production of the Play. For such a video, R&H allows theatres to film up to 10 minutes of total footage taken at either a performance or rehearsal (i.e.: 10 minutes of scripted moments.)

2. The Promotional Video may not include more than (i) 1 minute from any song or (ii) 3 minutes, in the aggregate, of footage of copyrighted material from the Play.

3. The Promotional Video may not include any sponsorship or underwriting without the prior consent of all R&H.

4. The Promotional Video must be submitted to R&H by sending the source video and video link to editor@rnh.com.

5. The Promotional Video must include the following: "Rights courtesy of Rodgers & Hammerstein, www.rnh.com"

6. Upon approval by R&H of the Promotional Video, you agree not to make any alterations in the approved copyrighted material used therein and you agree to obtain the prior written approval of R&H for any other use of the Promotional Video not specifically granted herein.

7. Upon termination of the Term, you shall cease to have any rights to use the Promotional Video including, without limitation, in connection with a future production of the Play, and shall immediately remove its content from any and all websites on the Internet.

8. You may not use a commercially available recording.

9. Any additional promotional rights must be approved by R&H by contactingTheatre@rnh.com.

 

*Promotional video rights can only be granted once a performance license for Things To Ruin has been secured. Please contact customer service if you have any questions. If you have not yet applied for Things To Ruin, you can do so here. LOG IN to learn more.

Archival

1. Subject to the information provided in Licensee’s application and payment of the fee as set forth in Paragraph 3 herein, Licensee shall have the right to create a single copy of the Video for internal archival, private viewing purposes at Licensee’s address only and shall not be re-copied, distributed or otherwise exploited, in whole or in part, in any media now known or hereafter developed without the prior written approval of R&H. Without limiting the generality of the foregoing, the Video shall not be (i) sold to anyone (ii) telecast by any television station or network, including, without limitation, any local cable station or (iii) distributed, exhibited or otherwise exploited over the Internet or as part of any online auction.

2. Licensee agrees to include the following language at the beginning of the Video:

©Year By R&H Theatricals. This production was videotaped by special arrangement with R&H Theatricals for archival purposes only. All Rights Reserved.

WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, videotapes or videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine.

This Video is provided to you for private, organizational and home viewing purposes only. By accepting the Video, you agree not to authorize or permit the Video to be copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed.

*You must be and licensed to present Things To Ruin in order to license Archival rights. Please contact customer service with any questions.

Distribution

1. Licensee shall have the right to create the Video and to make up to one hundred (100) copies of the Video for sale at cost to its Members for internal archival, private viewing purpose at Licensee’s address and for private, home-viewing purpose by Members, and shall not be re-copied, distributed or otherwise exploited, in whole or in part, in any media now known or hereafter developed without the prior written approval of R&H. Without limiting the generality of the foregoing, the Video shall not be (i) sold to anyone other than the Members (ii) telecast by any television station or network, including, without limitation, any local cable station or (iii) distributed, exhibited or otherwise exploited over the Internet or as part of any online auction.

2. Licensee agrees to include the following language at the beginning of the Video:

©Year By R&H Theatricals. This production was videotaped by special arrangement with R&H Theatricals for archival purposes only. All Rights Reserved. WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, videotapes or videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine. This Video is provided to you for private, organizational and home viewing purposes only. By accepting the Video, you agree not to authorize or permit the Video to be copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed.

*You must be and licensed to present Things To Ruin in order to license Distribution rights. Please contact customer service with any questions.
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