Matthew Lombardo takes 'High' beyond Broadway

Some ten years ago, playwright Matthew Lombardo was on the cusp of success. His play about Katherine Hepburn - "Tea at Five" - had been picked up by the Hartford Stage Company for a production that was to star Kate Mulgrew, for whom Lombardo fashioned the solo work. This came after years of learning his craft writing for daytime soaps and directing plays in New York.

He was talented, ambitious and well connected; as well as out to his family and colleagues. He seemed to be living a charmed life; that was until he began using crystal meth.

That came in a relationship he had with a man he met while visiting L.A. The man was a user; Lombardo was not. "I was 36 years old and never touched a drug in my life. I was the All American boy. But I met a guy who rocked my world. I was addicted to him and he was addicted to crystal meth. On our first date, he offered me some. I initially refused, but it seemed that he really wanted me to do it and I thought it was a deal breaker, so I made the choice to do it."

His life hasn't been the same since. He saw himself become seriously addicted almost overnight. At first, the high and the relationship were intoxicating. Over the next year their bi-coastal relationship would find them hooking up in various romantic locales where they would use and have sex.

"It was just me, him and crystal meth," he recalls. "What that drug does is make you lose your inhibitions. It makes you feel you're in love, so I don't actually know what my feelings were for him."

Then his boyfriend stopped answering his calls. Lombardo became alarmed when his friend's phone was disconnected and flew to California to investigate. What he found was an empty house. He learned from a neighbor that the man had lost everything, moved home and was in recovery.

"Then I asked for his number, and was told no. That he was in recovery and couldn't have contact with the people he had used with. I thought that was cruel in that he introduced me to meth. He was getting clean and I had a drug problem. So the next few year I went down this spiral of crystal meth addiction."

That spiral takes artistic life in "High," Lombardo's three-character drama that comes to Emerson-Majestic this week on its first stop of a National tour with Kathleen Turner. What's unusual is the production comes after the show failed on Broadway last season, lasting a week and opening to some pretty harsh notices.

Undaunted, Lombardo and some of the original producers convinced Turner to reprise her role on the road, to which she happily agreed. She plays Sister Jamison Connelly- not your "Sound of Music"-variety nun, but a tough-talking "broad" with a past that takes Cody Randall (Evan Jonigkeit), a 19-year old meth user and hustler, under her wing for treatment. Both have issues and both have pasts, which become known as the play unfolds.

In reviewing the play in the New York Times, critic Charles Isherwood wrote: "An actress who does not shy from the savvy deployment of outright mannerism, Ms. Turner plants long, portentous pauses in her many addresses to the audience, effectively juicing the play's steady stream of revelations. She flings herself into the drama's more lurid episodes with impressive physical aplomb, as when a drug-addled Cody strips naked and threatens to assault his would-be benefactress. And when Sister Jamie reveals the dark truth about the events that sent her spiraling toward addiction, Ms. Turner convincingly exposes the raw wounds beneath the leathery exterior and the urgency of Sister Jamie's need to believe in the possibility of redemption."

EDGE met up with Lombardo in Boston recently where the personable and attractive playwright spoke frankly about how he turned his experiences with addiction into this gritty, hard-hitting drama.

An outcast

EDGE: Your addiction corresponded with the first production of "Tea at Five"?

Matthew Lombardo: Yes. I had just broke up with this man and was going into rehearsals with 'Tea at Five' in Hartford. People knew something was wrong. On the fourth day of rehearsal, I collapsed on the rehearsal floor because I had been up for three or four days. Kate (Mulgrew) took me aside and said that we didn't have to do the play then, but the theater had sold a half-million dollars worth of tickets, so I felt we had to go on. Then we had a hit and decided to do a tour that I produced. The worse thing you can do if you have a drug problem is to bring it on tour because every city I was leaving a trail. By the time the tour was over no one would work with me.

EDGE: What were you doing that made you impossible to be with?

Matthew Lombardo: I was being difficult, but people didn't know what was going on. It reached the point where my emotions were erratic. Then when people (at the theaters) realized I had a drug problem they would call the next city and say beware, because it was going to be a mess. Even my crew didn't know how to help me because I was isolating. Kate and I were doing these talk-backs I would show up and be out of my mind and she didn't know how to manage me. By the time the tour was over, so was my career.

EDGE: No one intervened? Not Kate? None of your friends?

Matthew Lombardo: They tried. But I didn't want to listen. I was in the grips of meth addiction. I couldn't imagine my life without it. And also if you look at other playwrights - Tennessee Williams. Eugene O'Neill - they were both alcoholics - and I thought this is just what comes with the territory. There's an addiction curse.

EDGE: So you romanticized it - saw yourself as part of a literary tradition...

Matthew Lombardo: Yes. I thought this was the price to becoming a successful playwright. It's a liability I have to endure. But at that point, no one would work with me. And I went on for another two years trying to get sober, but I lost everything - my apartment, all the money I had made from 'Tea At Five.' My family came to me and said, either you go into treatment or we don't want anything to do with you.' I had enablers along the way too. I think Kate was one of those enablers too - she wanted to go on with the tour. I think that maybe they turned their backs in a way, maybe they didn't reach out as much as they could; but it was basically my problem.

EDGE: And this went on for two years?

Matthew Lombardo: People were telling me I'm a drug addict, and I'd say, 'I'm not a drug addict.' I would go into treatment to show them and get clean for 90 days and say, 'See. I'm clean,' Then I'd go back to using.

Story continues on following page.

Watch this clip from "High":

Why meth and gay men?

EDGE: Why do you think crystal has such a grip on gay men?

Matthew Lombardo: I don't know how the drug came into our community, but it is totally related to sex and I got wrapped up into that lifestyle. But I thought I deserved it (the lifestyle) because I was successful playwright and was making good money. And I would party in every city - make new friends. It was fun for a small amount of time, but then it became a chore. I couldn't get out of bed without hitting the pipe. It went from fun to embarrassing to humiliating to dehumanizing to degrading. It got worse and worse and worse. To the point that towards the end I couldn't distinguish what was real and what was not. I was delusional. I thought people were chasing me. I went from snorting to smoking to injecting in a very short amount of time. I was doing that much of the drug.

Towards the end I was in San Francisco and LA - the worst cities to have a crystal problem. I thought people were tapping my phone, I was pulling telephone wires out of the wall.

EDGE: What happened when you finally hit bottom?

Matthew Lombardo: I lost everything. I had nothing left. So I went down to Florida and got into a recovery program. I thought my career was over and thought I was going to find a new life. Six month into that I had written a play called 'Looped' about Tallulah Bankhead. I called Sheldon Epps, who is the artistic director for the Pasadena Playhouse. And I said, 'I don't think you want to work with me again, but I have written a really great play and I think it would be really successful for your theater.' He agreed to look at it and asked me back.

The next thing I needed to do was prove that I was sober. That I was working in a program. Everyone heard the stories about me, but one person believed in me, then another; then Valerie Harper (who played Tallulah) got on board. I told her that I was doing everything I could to better myself, and she said we all have history. So it came back, gradually. 'Looped' led to me working with Kathleen Turner and this play - she's been a great supporter of the play and me and my recovery.

EDGE: How did your meth experiences become a play about a nun and the hustler she counsels?

Matthew Lombardo: They say write what you know. I knew about Catholicism. I grew up Catholic, was an altar boy and went to Catholic school. And I knew about addiction. I also met plenty of Codys while I was using. So I took those two worlds and put them together. I didn't want to write about myself, but I wanted to write about those feelings associated with the addiction I wanted to tap into. I took those experiences and put them into my art. I took those experiences and put it into my work.

The Catholic connection

EDGE: Was Catholicism something you always wanted to write about?

Matthew Lombardo: It's interesting, I grew up Catholic, but with my drug addiction, I moved away from my faith. But when I got sober, my faith came back into play, and I decided to put that into a play.

EDGE: Why make the drug counselor a nun and not a priest?

Matthew Lombardo: I think my strength as a writer is writing female characters of a certain age. I wanted to write a unique female character. I wanted to make this character stand-out. And I thought, suppose I would make this woman a promiscuous alcoholic in her younger years and in an effort to get away from that, she ran to the church to find forgiveness and became a nun. And she decides to help other people because of what happened in her personal life.

What I wanted to make the character unique in a sense - she's a broad, above all. She's not the Maria Von Trapp-sort of nun. She has a potty mouth and a no-nonsense approach to recovery. Then after I wrote it, I thought there was no one but Kathleen Turner who could play the role. So I called her agent and told him that I had this really terrific play for Kathleen. That is like nothing she has never done before. She thought so as well.

EDGE: What made you think of Kathleen Turner?

Matthew Lombardo: Because she's fearless - that's what I love about her. She takes on the hard roles. This is a very, very difficult role. It's very emotional and physically demanding. She's on stage the entire time - from the time the curtain goes up and goes down.

EDGE: Since this play is from your own experiences, why didn't you put your own life on stage?

Matthew Lombardo: I don't think I'm all that fascinating. Like I mentioned, I've met many Cody Randalls along my travels. Sometimes we are born into a life we can't escape and become a certain kind of person because of our birht. That what happens with Cody. If Cody was raised in an upper class family in Connecticut as I was, I don't think it would be compelling to an audience. Cody was based on people that I had met.

Even when I was using I knew that I was going to be writing a play that dealt with this subject matter. But I was afraid to write this play because everyone would learn of my past. I would have to come clean. I was trying to suppress this play as long as possible. It was gnawing at me and it eventually had to come out.

EDGE: Was it harder to come out as a gay man or as a crystal addict?

Matthew Lombardo: I think coming out as a crystal meth addict. Coming out as a gay man was pretty easy for me. I came out at 15. I told my high school my senior year I was gay and it didn't make a difference. No one cared. It was easier in the 1980s to come out as a gay man as it was in the 1960s. Even then it was cool to be gay - there was cool factor there. But to come out as a crystal meth addict. Addiction is the only disease people get mad at you for having.

EDGE: Why is that?

Matthew Lombardo: I think many people think that addiction is a disease. The American Medical Association thinks addiction is a disease. They also say that there is no cure for it, but there's a treatment and that is a 12-step program that has the AMA saying that if you believe in a power greater than yourself, you can be treated for alcoholism and addiction.

EDGE: What did you learn from the program?

Matthew Lombardo: Yes. I realized that I was powerless and that my life had become unmanageable.

I thought was career was over. I thought who was going to hire me now. I had made such a mess of my life. I told my sponsor that there was no way I was going to get my career back; but he said that if you stay sober, you'd have a career bigger and better career than you had before. The funny thing is, he was right because after that I had two Broadway plays, which I never thought would happen.

Story continues on following page.

Watch this interview with Kathleen Turner about "High":

Issues with Broadway

EDGE: Yes, but in both cases the plays were poorly received and folded quickly. Was it a mistake to open them on Broadway and not elsewhere?

Matthew Lombardo: There's a disease in New York for the past few years - this Broadway or Bust. Everyone has to make it to Broadway. And I kind-of fell into that as well. If I could do it over, I would rather have seen 'Looped' and 'High' go off-Broadway. In fact, I had sent an email to everybody about 'Looped' that we should put that play in the Minetta Lane or another off-Broadway house. There were big names that used to play off-Broadway and the plays would run for years. Then things changed - everyone had to go to Broadway. I think I would have had longer runs with both plays if we had gone off-Broadway.

EDGE: This is a touchy question, but what did you think of the critical response to both your plays, which was decidedly negative?

Matthew Lombardo: I have never been a critics' darling. I will never be a critics' darling, nor do I want to be a critics' darling. The reason is that critics' darlings have a tendency to burn very bright and very fast. I would rather have a slow, steady burn. Even 'Tea at Five' got mixed reviews. People said that this play would be nothing without Kate Mulgrew, then Stephanie Zimbalist did it, then Tovah Feldshuh did it, now Charles Busch is going to do it. 10 years later 'Tea at Five' is performed all over the world, so I would much rather have mixed reviews and longevity with a play than get great reviews and have the play go nowhere after New York. And I don't know 'High' is a difficult play. It's very raw, it's very real, and it shows addiction in a way that has never been seen before. But it is also very funny - Kathleen brings a lot of humor to it. Rex Reed said it is the best thing she has ever done. And I think it is. She gets into this character and leaves emotional blood on the stage. For people who love, Kathleen Turner, this is the play to see.

EDGE: What happened with 'High' on Broadway? It came and went so quickly...

Matthew Lombardo: We started in Hartford and broke box office records there, then Cincinnati and St. Louis, and broke records there as well. Then we went to New York... The problem with New York was two-fold: it was clumsily produced and it was poorly financially planned. They thought that because they had a star, they wouldn't back her up with a marketing plan. I knew we were closing before opening night because my producer came to me and said, 'we want this play to come in under the radar,' which said to me, 'we don't have any money, we not spending anything on advertising. Prepare to close.'

I think they did this production a great disservice in New York. I knew I was going to take the play on tour after their option expired, so I didn't feel that bad; but I felt bad for Kathleen. I thought she was treated poorly. She deserved better. One thing about Kathleen is that she loves doing this play, she loves this role. We're a tight-knit family, even with Evan Jonigkeit. He's our little hot-shot. We saw hundreds of actors for this role, then he came in and we said, 'Oh, my God.' He did so much research into how a crystal addict would act and was nominated for an Outer Critics' Award for his performance.

EDGE: How did this tour come about?

Matthew Lombardo: We're really happy with where the play is. And people really respond to this play. Unfortunately we didn't have the producers support in a season that is very, very busy.

Three of our New York producers put together this tour. They were the first to believe in this project - when they saw the play in St. Louis, they said they wanted to be involved. They lost a fair amount of money in New York, but then put more money in this tour. Because they not only believe in this play and me and Kathleen, but they are dedicated to getting this message out. We are doing outreach about addiction. We are doing talkbacks. We are doing a benefit for Fenway. (Wednesday, December 7, 2011).

Writing strong female characters

EDGE: Are conversations like this one difficult for you?

Matthew Lombardo: No. Not anymore. The first year it was. Weaning off this addictive substance - more addictive than heroin - it was tough. But then I found a circle of support. People that had years in recovery - I realized the work I had to do on myself. And I think this challenge in my life - this addiction - is the greatest thing that ever happened to me because it allowed me to do work on myself I never thought would be possible.

It was hard severing friendships, but I knew I couldn't have anything to do with them if they were using. But at some point you have to save yourself. If a boat comes by and they are throwing life jackets and they're not going to take one; well, I'm taking one even they aren't. I never saw my friend in California again.

EDGE: You mentioned that you write about women of a certain age. Two gay icons in fact - Katherine Hepburn and Tallulah Bankhead. Why are you attracted to writing about such strong women?

Matthew Lombardo: I am the youngest in a family - I have three older sisters and a domineering mother. I always looked up to them. When there were holidays in the house, the men would go in the den and watch television and the women would go into the kitchen and talk. I would like to go into the kitchen because the conversations were more fascinating because they would talk about their feelings and emotions. Men don't do that. I like to tap into my characters' emotional palette.

EDGE: How did you come to write about Katherine Hepburn?

Matthew Lombardo: It's funny. I never wanted to write about her. Then I was watching 'Star Trek Voyager' and saw how much Kate Mulgrew reminded me of Hepburn. I mentioned that to an actress friend of mine - Nancy Addison - who had worked with Kate (Mulgrew) on 'Ryan's Hope.' She said why don't you write a play about Katherine Hepburn and we'll get it to her. I knew Kate was finishing 'Star Trek Voyager,' so I sent the play to her saying that the Hartford Stage was interested in producing it, then also sent the play to the Hartford Stage saying that Kate was interested in it. Neither one knew. Fortunately they called me the next week and both agreed to it. But I wrote that play for Kate and I never thought it would have much life, but recently we licensed the play in Japan. Who would have thought that?

EDGE: Your play 'Looped' is about Tallulah Bankhead. She was famous for her addictions. One of her funniest lines is 'Cocaine isn't habit-forming. I should know -- I've been using it for years.' Did your addiction inform your writing about her?

Matthew Lombardo: Yes. I understood her. I totally get Tallulah Bankhead. Although she was very talented, she was self-sabotaging. Towards the end, no one wanted to work with her. She was crazy and a drunk. That is why in that 1965 audio tape, when she's trying to loop that one line, she was out of her mind and took 8 hours. I get that. I was there. I understand the psychology. I know what it is like to have an addiction and try to have a career. But I also saw a great deal of humor in the situation and Valerie was a great comic, so I was able to write it all in.

EDGE: Kathleen Turner also played Tallulah. Have you attempted to get her to play in a production of 'Looped'?

Matthew Lombardo: I wanted her originally to play 'Looped.' That's how I initially made contact with her. She liked the play, but she said she had done Tallulah and didn't want to repeat herself. But I still hope that there's a 'Looped' in her future. Rob and I keep saying that we have to get her do it because she'd be perfect for her.

A ’High’ movie?

EDGE: You mentioned Rob Ruggiero. You two have worked together on 'Looped' and 'High.' How would you categorize your relationship?

Matthew Lombardo: Rob makes me a better writer and a better person. I just like who he is. He's always asking me questions - the right questions. If I have an answer, I know it's right, if I don't, it makes me think. We work so well together. We are so in tune with each other.

EDGE: Is there a movie of 'High' in the works?

Matthew Lombardo: Yes. High has been optioned by a director named Mark Kohl and is being prepped right now. Film version right now. Kathleen is attached. I'm writing the screenplay. It is such a cinematic play to begin with - even the critics that didn't like the play said it was cinematic, so it lends itself to a film.

EDGE: Are you working on any new projects? Another biographical play perhaps?

Matthew Lombardo: I am. Another famous personality, but not a woman. A man this time, who is gay and nothing has been done on him before. That's all I want to say about it for now. For the next couple of years I am going to focus to putting my shows on the road. We are doing 'High' now. I want to take it to Toronto and London. Then I want to go on the road with 'Looped' with Valerie Harper.

EDGE: You've had two less-than-terrific experiences on Broadway. Do you think there is something wrong with the New York theater that smaller plays can't survive?

Matthew Lombardo: There's always been something wrong with the New York theater. I think today we've lost our off-Broadway. I am just as guilty as everyone else. I think we all got into the mindset that we wanted to be on Broadway, and in my case it hurt my plays. But there are other cases as well - look at 'Next Fall.' It opened off-Broadway at Playwrights Horizons to great reviews, but then they moved it to Broadway and it lost its investment. There's a play that could have moved to an off-Broadway theater, it could have had a nice run. Why Broadway? Sometimes it doesn't make sense. In my case, I think 'High' would have done better in the East Village - it's gritty and raw and intense. I think people go to off-Broadway to see things that are edgier and different.

It's a little weird. Almost embarrassing. Part of you is, wow. I've made it. Then part of me is, take my name off the marquee because it is what I do. This is the only skill I have - writing - I couldn't do anything else. It's what I do, but sometimes people put such an emphasis of what we do....

Own experiences?

Eventually. I don't think I'm that interesting. I have had interesting experiences. With a few more years under my belt I can write about my career and how it came about - how writing for daytime television led to a play, then going downhill and coming back. I think there might be a story in there somewhere.

Performances of "High" run Tuesday, December 6 at 8pm (post-performance discussion with creative team), Wednesday, December 7 at 8pm (Press Performance and Fenway Health Benefit), Thursday, December 8 at 8pm, Friday December 9 at 8pm, Saturday December 10 at 2pm and 8pm and Sunday December 11 at 1pm and 5pm. Ticket prices range from $25.00-$95.00. Tickets are available online at www.aestages.org, by phone at (617) 824-8000 or at the Cutler Majestic Box Office, 219 Tremont Street, Boston.