In celebration of Valentine's Day, Crystal Collier, creator of the romantic new vampire theater production Immortal the Musical, stopped by to talk about her campaign to take the musical to Broadway. For added atmosphere, click on this link, and the show's opening number will play in a new browser window.
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SUBURBAN VAMPIRE: Welcome to Suburban Vampire, Crystal. Please start by telling us a little about yourself.

CRYSTAL COLLIER: Well first, thank you so much for inviting me!
If someone told me ten years ago, “Hey, you’re going to write a musical,” I would have laughed in their face. I only ever took one music theory class in college, and it was enough to send me running. While dreaming of a writing career, we (my incredible husband and I) have been raising a family as I teach voice lessons, pen novels for “one day,” and sing in/direct/compose for choirs. Sure, choirs, but a musical? Even I’m not that insane. Or am I?
SV: How did Immortal the Musical first come about?
CRYSTAL: 2003: I sat in a theater, eagerly awaiting a show. Lights dimmed and velvet curtains parted to reveal a lone figure silhouetted against blue light. His voice echoed over us, the very essence of solitude, of longing.
And then I woke.
I scrambled to my piano (keyboard), fumbling in the early dawn with pen and paper to capture the moment.
It worked. In fact, the next week my life was a whirlwind of midnight wakings and crazy writing sessions. The story literally fell into our laps (my hubby's & mine) like pieces of a puzzle. What started as a dream bloomed into a three-hour (now two-and-a-half-hour) musical opus.
SV: Your main character is Count Lucas Delamark, a "recluse who occupies the town’s most prestigious estate." How does Lucas differ from another bloodthirsty count we all know and love: Dracula?
CRYSTAL: Lucas is a victim of circumstance. Imagine if you suddenly woke with an unexplainable hunger for blood. Would you be evil?
Lucas went to an apothecary seeking a remedy for the plague. Instead of a cure he received the Elixir of Life, aka vampire blood. For three-hundred years he’s fought this thirst, believing (like those who hunt him) he is damned. His only ambition is to stay on this side of the grave, until he meets Justine…
SV: You offer samples of several of the show's gorgeous songs at ImmortaltheMusical.com. Who are the singers behind those beautiful voices?
CRYSTAL: Jeff Ostler sang Phineas (the hunter). Jason Ostler sang Lucas and was in an accident that shattered every bone in his face shortly after recording. He has just recently begun to sing again. Unfortunately, after years of searching, we were unable to find the perfect Justine or Sophia (who knew a French accent was so hard?), so I ended up singing them both.
SV: Who is the rest of your creative team?
CRYSTAL: My husband (J. Matthew Collier) is the man standing behind me, tapping an impatient toe until I make those painful edits. He’s a computer guru who (1) fixes my composition programs when they hate me, (2) designed the website, (3) mixed our first CD, and (4) has produced a number of short videos to help promote the show (coming soon). Adam Jacox is a genius at unconventional marketing strategies and has helped put together our current “plan” of 365 Days to Broadway, launch date TBD. Brittney Jacox is a radio personality and brings a unique perspective to the group by way of radio/advertising expertise. Monique Ott is an incredible performer, but she’s also a goal setter. Most days she keeps us on track.
SV: Many of my readers have struggled with breaking into the grueling businesses of writing and filmmaking, but many of us are unfamiliar with the genesis of a theater production. What is the process of getting a show onto Broadway?
CRYSTAL: Typically a musical begins when one industry artist turns to his friend (I did specifically say “his”) and says, “You know what? We should make this story into a show!” They find a composer, a lyricist, and a scriptwriter (also known as a librettist,) and chart the high points of the plot (where it really sings.) Then the composer goes away, writes a song, brings it back, and everyone gives the thumbs up or thumbs down. Rinse and repeat.
Step two is to record a CD: the musical’s hook. After the CD is complete, a “reading” is in order. This is a dry run of the script with the music. Typically there are a few of these and many, many edits between. Finally, the show is work-shopped with actors one scene at a time, then test run in front of an audience.
Staging: Here’s where someone foots the bill for production and invitations go out to every major voice in the community. The goal is to get rave reviews so some NYC big wig will pick up your work. If that doesn’t happen, you move to New York City and pound the pavement until you run into the right producer. Hopefully, he even cracks your script open. That or you go to California and work to get in with a major film company, like
Wicked did.
The expected journey from conception to production (if it ever gets produced) is 7 to 10 years, and the cost for a Broadway run is 10- to 20-million dollars.
SV: What is the best way for vampire fans to help get
Immortal the Musical on the stage?
CRYSTAL: The best way to help the show is to TELL EVERYONE! Blogs,
Twitter, texting, Facebook, goodreads, etc. We need “like”s on the
Facebook fanpage to prove we have a fan base. Investors (for that $20 million) will want to know. If you want to do more, hit
the show’s blog for regular updates on ways to assist. Here’s a great update from a few weeks ago:
http://immortalthemusical.blogspot.com/2011/01/yell-for-help.html.
SV: One last question—I'm celebrating the romantic allure of vampires at Suburban Vampire this February. Why do you personally believe we often associate bloodsucking creatures of the night with love?
CRYSTAL: One word: eternity. Don’t we all crave the hope of a love that lasts
Forever?
SV: Thanks so much for stopping by for a visit. Please keep us posted on the status of Immortal the Musical.
CRYSTAL: Will do, and thank you!