Take Off: Filming Five Women at an Airport

That’s a wrap on my first full musical production as director, and my first feature film as director, the glorious filmed musical, "Five Women at an Airport.
"

 

This piece. 

This experience. 

This team. 

These WOMEN. 



I will never know what I did to deserve this perfect alchemy of passion, commitment, humor, depth and talent— but we got it all and then some, all in 20 days that felt like 20 years. 

What we achieved artistically, emotionally, and all ahead of schedule (?!) was a miracle. 

 

A few months ago my dear friend lyricist, playwright, and musical book-writer David Goldsmith approached me about an idea conceived by the great Paul Gordon, who David describes as the "Jobs to his Woz," and this idea as the proverbial Silicon Valley garage. And you, dear audience will be the potential proof of their genius concept.

 

David and his fellow creatives Wendy Perelman (book) and John Kavanaugh (music) had a piece of material that they deeply believed in. 

A piece of musical theatre they felt needed to be seen. 

They called that piece “Five Women At An Airport.”



 

At the same time, we had a broken industry. 

Paul and David wanted to figure out a way to democratize more than merely was what was produced and celebrated within it, but what was ever seen at all. 

They came up with an idea, and called it Virtual Stage Lab. 

They wanted to film our musical within weeks, not months; and not as a finished product, but as a video demo filmed on a stage at the highest possible level. The focus would be on the story, music, lyrics, and the performances of the actors. 

And then they intended to post it online, for free. For anyone and everyone to see the work, and the work of their colleagues and collaborators. 

If any productions came of it—or any licenses derived from it—all of those artists would share in a royalty pool that, in success, would bring them revenue in perpetuity. 

Plus everyone would get some beautiful footage, doing beautiful work. 



 

That was the idea.

 

I was entranced. And I cannot believe they asked me along for the ride. As the DIRECTOR. (I mean. Were they insane? Didn't they know the only thing I've ever directed in my life was countless scene study classes and like six Greek tragedies at a conservatory? What were shot lists? Who was going to costume this and design the lights and keep everyone on schedule? ME?! That's insane. That's for adults...)

 

They didn't care. David knew. He saw something in me I didn't even dare to see in myself.  It also came with the unparalleled trust of its genius creators John, and Wendy— who created a work of such indescribable truth and beauty; a work about real, mature, fully-embodied, nuanced women speaking to one another like real human beings. These are roles women can savor, relish and feast upon for eons to come. 



 

I’ll never fully have the language to express what this three weeks meant to me. 

I’ll say until my breath runs out: in show business it is not the work you make, where you make it or the tens of dollars we are sometimes paid for the privilege. It is, above all, about who we share it all with. 



 

 

None of this would have been possible without the entire technical team — Ian, Tais, Dylan and our magic MD Andy Collopy and genius Director of Photography, Konstantin Yelisevich. Dreamboats ALL. And above all; the literally jaw-dropping organization of our Stage Manager Morgan Holbrook who kept us on track at every turn. 



 

But to my beloved ladies — Bryonha Marie Kate Rockwell, Elena Shaddow Katy Geraghty and Cailen Fu— I have never had an experience like this. One of instant collaborative and temperamental alchemy. From the word “go” you generously offered me not only your time and infinite talents, but your trust and hearts and souls. Thank you for making my first directing experience such a dream. I passionately love you.



 

And now? That’s a wrap. 


See you at the movies. 


Director (and Karole)—out.

 

Watch this space in 2025 for the full feature film.