e a r s
u i l d i n g
x c e l l e n c e.
Building Peace of Mind.
Guy was to direct. Michael came in as producer, as he had the experience
in live performance that Guy lacked at the time, and understood what it
took to put a show together.
“When I read the material,” Michael says at the beginning of a two-
hour-long interview in the Bel Air home of Guy’s sister, Yolanda, “I was
The “material” was not, however, a musical. There was no score, no
sound engineer; it was a screenplay that Guy had written in 1989 and had
converted into a play.
“The show never reached critical mass,” injects Guy, sitting nearby.
He says the show “had to be delayed.”
That was nearly twenty years ago.
Over the years, Guy and Michael continued to discuss how to
produce his show. What made it doubly difficult to find backing, Guy
explains, “was that it was not a show that had a title awareness; it’s not
based upon something that had already been done previously; it’s not
based on a movie. This is an original piece of material.”
Even though Veloz & Yolanda danced to a capacity crowd at the
Hollywood Bowl in 1948 – a performance that turned out to be their
swan song – and that they had set a box office record at the Bowl that
wouldn’t be broken until the Beatles came to America sixteen years later,