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"I worked in the theater for
about 10 years before I started
producing," Mr. Frankel recalled.
"I was an assistant stage man-
ager, a stage manager, a general
administrator, a press agent and
a marketing director.
"All of that was in not-for-prof-
it theaters except for the stage
managing, which was in com-
mercial theaters as well. I tried
to work in different jobs and learn
a lot of components of what it took
to put on a play."
After becoming managing di-
rector of the non-profit Circle
Repertory Company in Manhat-
tan, he began transferring plays
to commercial runs off-Broadway.
Eventually, he left and produced
Penn & Teller on his own.
Forming a partnership with
two other producers, he took re-
sponsibility for operations and
left the money-raising to them.
Mr. Frankel believes that a
producer must be able to take
risks while balancing practical
considerations, have the ability
to discern what the public will
like and function in situations of
great uncertainty.
"I was very happy about Penn
& Teller, in part because it was
my first production and my whole
career was at stake," he said. 'Do-
ing one show, I had nothing to fall
back on. I woke up in the morn-
ing and went to sleep at night
worried about just that show.
"Now that I have a little pro-
duction company, we may be do-
ing nine to 12 productions at a
time in a very different kind of
operation."
His most recent New York ven-
tures include Family Secrets, An-
gels in America, What's Wrong
With This Picture? and Damn
Yankees.
Projects about to come to the
city are Smoke), Joe's Cafe, a mu-
sical revue of the work of Jerry
Leiber and Mike Stoller of the
Coasters and the Drifters rock
groups, and Jolson Sings Again,
a play about Larry Parks, who
portrayed the legendary show-
man in the movies and later was
blacklisted.

RESTAURANT & BAR

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-

When projects have Jewish
content, Mr. Frankel has a spe-
cial feeling for them.
Driving Miss Daisy meant a lot
to me, although it certainly
wasn't my experience," he said.
"Unlike Miss Daisy, my grand-
mother was a more traditional,
European-type Jewish grand-
mother. Nonetheless, the play
had a lot of resonance for me."
Theater and a family that in-
cludes three children remain his
mainstays.
"I have no time for anything
else," he said. "I'm proud of the
fact that I manage to have a per-
sonal life at all. There are many
people in the theater who don't."
Mr. Frankel finds enormous
satisfaction in Stomp, knowing
that so many have accepted and
enjoyed what he terms "peculiar"
routines.
"I also get enormous satisfac-
tion out of making our Stomp
compact happen — presenting
the entertainers in New York and
on tour, moving their careers for-
ward in a major way and making
some money for them as well as
for us." 0

Stomp will be performed at
the Fisher Theatre Dec. 13-18.
Shows are 8 pm Tuesday-Sat-
urday and 2 pm. Sunday. For
information, Call 872-1000.

New Year
In Birmingham

Organizers of First Night/Birm-
ingham '95 are getting ready for
a lively New Year with a myriad
of performances, headlined this
year by the zany tunes of the
Chenille Sisters.
Other headliners include South-
ern Exposure; Mr. "B"; Peter
MADCAT Ruth and Shari Kane;
Ensemble Ouabache; Kideo; and
Ursula Walker & Buddy Budson.
The '95 program also features
a storyteller for adults, Ben
Hansen, whose performances are
professionally signed for the hear-
ing impaired. A "Hoedown Count-
down to Midnight" will take place
in Shain Park to "rope" in the
New Year, showcasing the foot-
warming, knee-slapping, toe-tap-
ping country music of Southern
Europe.
First Night/Birmingham is a
non-alcohoic festival of the arts
for all ages which takes place
in easily accessible locations
throughout central Birmingham
from mid-afternoon until mid-
night on Dec. 31. Admission is a
$7 button (admission for children
ages 3-5 is $1; children 2 and un-
der are admitted free). Buttons
are available at participating
locations.
For information, call Jill R.
Riddle or Dena Wall, (810) 540-
6688.