IT’S splitsville for Oscar-winning screenwriter William Goldman and Tony-winning song writer Adam Guettel – and curtains for “The Princess Bride.”
The two had been collaborating on a much-anticipated stage version of Goldman’s hit 1987 movie, but recently had what theater sources say was an acrimonious falling out over ownership of the show.
Goldman, who was writing the book, reportedly wanted 75 percent of the authors’ share of the show, even though Guettel was contributing both the music and the lyrics.
“It was an impossible deal for Adam,” says a source. “There was no way he could take it.”
Guettel, the grandson of Richard Rodgers, did not return an e-mail seeking comment. But sources say he’s devastated by the split. He spent a year working on the musical, and now, because Goldman controls “The Princess Bride,” has nothing to show for his efforts.
“Adam did all of the work,” says a Guettel ally. “Bill Goldman barely wrote a word. Then he went to Adam and told him this was the deal, take it or leave it.”
Reached yesterday, Goldman, whose screenplays include “All the President’s Men” and “Butch Cassidy and the Sundance Kid,” confirmed that he and Guettel had parted ways. Asked about the financial dispute, he said: “That could be, but I wouldn’t go there.”
Goldman defenders say he was dismayed by Guettel’s slow work habits. The 40-year-old composer, who won a Tony for “The Light in the Piazza,” had written a few melodies but no lyrics – not much, Goldman’s camp says, to show after a year’s worth of labor.
What there was of the “The Princess Bride” was workshopped at Lincoln Center last month, and people who saw it were impressed.
“Adam wrote some wonderful songs,” one source says. “Maybe he can use them in another show.”
WILL they or won’t they?
Matthew Broderick and Nathan Lane still haven’t decided whether they’re going to go back into “The Producers,” much to the dismay of the show’s cast and crew, who have been told that the show will close in March if they don’t.
Word backstage is that Lane wants to do it, but that Broderick is reluctant.
Broderick is said to be worried that the (Leo) Bloom will be off his rose, and that the critics, who savaged him in “The Odd Couple,” will take some more swipes at him in “The Producers.” And he’s concerned that he and Lane won’t sell out the show, which would certainly be portrayed by the press as the end of their once dynamic showbiz partnership.
Broderick also is in no mood to help out Mel Brooks, the creator of “The Producers.” Brooks had promised Broderick the lead in his next musical, “Young Frankenstein,” but then auditioned other actors for the part.
“That really hurt Matthew,” says a production source.
Lane wants to do “The Producers” for one simple reason: money. He and Broderick will each be paid almost $200,000 a week to do the show for six weeks (it would close in June).
Lane is said to be pressuring Broderick to join him the show, but many on Broadway say Broderick has a better line on the situation.
“Their act is over,” says a veteran producer.
FOOTLIGHTS:
* Is “Talk Radio” too risque for talk radio? Ads for the upcoming Broadway revival of Eric Bogosian‘s play have been rejected by a number of radio stations, including CBS 880, WOR and WINS. The reason is that the spots contain a phrase from the play: “pet’s orgasms.” Maybe they should try satellite radio, where pretty much anything Howard Stern-ish goes.
* Broadway song-and-dance man Jeffrey Denman is bringing his show “Jazz Turns” to Birdland on Monday at 7 p.m. Denman, who’s appeared in “Cats” and “The Producers,” will be joined onstage by veteran performers Brian D’Arcy James and Nancy Anderson.
* “American Idol” runner-up Fantasia has been asked to join the cast of “The Color Purple,” which has been struggling at the box office.