In the world of new works, some shows are born from a spark of lightning, and others from a long, careful procedure of refinement. For the creative team behind CleaVage: The Musical, the journey from concept to a sold-out run was a little bit of both—a “Rubik’s cube of moments and emotions” that proved musicals, much like the subject matter of this show, sometimes require a little, um… augmentation to truly shine.
Written by composer-slash-plastic-surgeon Dr. Ron Friedman and librettist Laura Goodenow, cleaVage explores the surprisingly complex (and hilarious) history of breast implants. The show recently enjoyed a sold out, fully staged production at Lakeside Community Theatre outside of Dallas, in collaboration with MusicalWriters.com, and we sat down with the writers, director, and members of the cast to chat about the history, scope, and benefits of the production.
Dr. Ron Friedman, composer
A Budding Idea
CleaVage: The Musical began as a solitary endeavor for Friedman, who grew up in California and began playing piano at 8 and composing at 10. He put his musical aspirations partially on the back burner to pursue the much more financially lucrative field of medicine, but after seeing Hamilton twice in 2019, the ambitious doctor decided to combine his musical past with his chosen profession in an original musical about the medical field.
Specifically, the field of breast augmentation.
When he first started writing cleaVage, Friedman remembered thinking, “I’m sure that this will be a Broadway hit in the next few years.” He goes on, “I was blissfully unaware of collaboration, rewriting, killing your darlings, table reads, staged readings, and the rungs of production.”
According to an article in D Magazine, “In a period of 10 months, Friedman wrote 25 songs about breasts. That’s got to be a record for a dude over the age of 12.” Friedman also orchestrated and produced demos for the show, but soon realized that he would need a collaborator to successfully bring the show to life.
The Initial Consultation
Laura Goodenow, book writer
Friedman’s blissful inexperience turned into partnership in 2021 when he met Laura Goodenow during an online theatre conference. The two started collaborating remotely via phone calls and Google Docs. Goodenow, a seasoned librettist, lyricist, editor, writer, producer, and collaborator, suggested taking liberties with the history to serve the drama, adding new characters and a central romance.
“Ron was looking for a female book writer to help craft a story using the songs he’d written about the origin of breast implants,” Goodenow recalled. “After listening to his demos, we had a conversation about deviating from the truth in the spirit of drama, as well as using only a selection of his songs (with changes). Once I had his buy-in, I created additional characters and wrote a draft of the book. From there, we nipped, tucked, and shaped the story — adding songs, adjusting scenes, elevating dialogue.”
Though they were well into their collaboration by this point, it wasn’t until the 2022 Musical Writers Festival that the pair finally met in person for their first table read.
“Laura and Ron are THE reason that we now offer in-person table reads at the Musical Writers Festivals,” said MusicalWriters.com CEO and cleaVage director Rebecca Lowrey. “They had never met in person, or heard their latest draft read out loud, and they came to us with a request for an in-person table read while they were both going to be in Texas with us. I am so glad we said yes – and it was the start of a really incredible journey as partners in development and ultimately, production of their new original musical.”
Something is “Developing”
The collaboration with MusicalWriters.com continued with another cleaVage table read (this time with a small audience) and a staged reading in March 2023, also directed by Lowrey. All of these development steps – and the script and score changes they inspired, including several new songs and an increased focus on the show’s love story – lead to the current draft of the show.
A staged reading of cleaVage was produced by MusicalWriters in 2023.
The leap from development to a fully staged production came through an intentional act of matchmaking. As part of Lowrey’s ongoing mission to connect Dallas–Fort Worth theatres ready to take a creative risk with original work in active development, she submitted a blank proposal to the Lakeside Community Theatre selection committee. “We didn’t know which musical would ultimately take this slot,” said Lowrey. “We just knew we wanted to build a bridge between a local theatre and a developing new work, then let the strongest, most ready project rise to the top. CleaVage turned out to be the perfect fit for Lakeside’s space, their patrons, and this moment in the show’s development.”
Once cleaVage was selected, Lowrey assembled a seasoned creative team built for both flexibility and invention. The production featured choreography by longtime collaborator Christina Kudlicki, costumes by Jessie Wallace, and sound design by Brian Christensen — also a MusicalWriters.com member and accomplished writer in his own right. The team was rounded out by assistant director and stage manager Aly Badalamenti and Alli Crabtree (a same-name coincidence that added a touch of chaos), lighting designer Mia Lindemann, props designer Bekka Glaze, and set designer Spencer Bovaird, all of whom made bold, imaginative use of a compact space and modest budget.
“This was truly a ‘no wasted inches’ production,” Lowrey added. “Every designer brought smart, inventive solutions that elevated the show without overwhelming it — exactly what a developing musical needs at this stage.”
The production also featured a cast of DFW-based actors and a live onstage band, reinforcing the show’s deep local roots while giving the writers invaluable insight into how the piece functions as a full theatrical event.
The “props table” for this show looked a little different than others before it at the Lakeside Community Theatre!
A Production “Operation”
Fast forward to October, where the team launched the fully-staged production that served as both a workshop and a world premiere.
Friedman, the show’s self-proclaimed “writer, orchestrator, promoter, financier, dog washer – whatever needed to get done,” savored this opportunity to workshop and improve the musical. “It provided the show with publicity and momentum toward a larger production,” he said.
For Goodenow, seeing the show fully on its feet—with costumes, staging, and live musicians—was a revelation.
“I attended a week of rehearsals, which was amazingly illuminating and helpful. I now know exactly what it takes to bring a show from the page to the stage,” she explained. “You’ll get to know your characters and your show more intimately when it’s reflected back at you.”
The production process was a massive undertaking, utilizing a cast that had to be as flexible as they were talented. Brigitte Wilson, who served as Swing, Dance Captain and many ensemble roles, described her script as looking “insane,” covered in various highlighter colors to track multiple roles.
“This process was entirely different for me this time around,” said Wilson, who participated in the cleaVage staged reading, as well as many other MusicalWriters.com development productions. “As Swing, I was tasked with not only learning and memorizing my own track, but the tracks of Tammy and Glenda… Let’s just say it works for my brain!”
Lauren Urso Gray, a Dallas actor, singer, and voice teacher who played cancer patient and love interest Glenda Byrne in the production, also pulled double duty as the production’s vocal coach. “I rehearsed 5-6 nights a week for about a month… My goal was to give each performer tools to sing this new material confidently, committedly, and with their own flair,” she said.
A promotional photo featuring cleaVage cast members, including Brigitte Wilson (center) and Lauren Urso Gray (right).
For the actors, the joy came from the camaraderie and the comedy. Wilson noted her most memorable moment was performing the song “What Went Wrong?” alongside her castmates. “Any time I got to share the stage with Jason Philip Solís, Daniel Hernandez, or Joseph Kaminski was just a joy. They all have impeccable comedic timing… Truly just bright lights as humans.”
Cast members enjoyed each others’ company, on stage and off!
From the O.R. to the Audience
The true test of the development, however, was the audience response. The show’s first official audience added another layer of meaning to the experience. Preview night was attended entirely by breast cancer survivors through a partnership with Women Rock, a local nonprofit supporting the survivor community.
“Having a house full of breast cancer survivors as our very first audience was incredibly powerful,” said Lowrey. “This show is funny and irreverent, but it’s also deeply human. Feeling that room — the laughter, the emotion, the recognition — affirmed why this story matters.”
The show also raised funds for Women Rock through merchandise sales and a raffle, extending the impact of the production beyond the stage.
For Friedman, the preview night offered a profound payoff. “Hearing the audience laugh, gasp, and occasionally cry on preview night… Knowing that it resonates with people makes the entire process worthwhile,” he said.
“Their energy was incredible,” Urso Gray added. “Getting a show on its feet, staged, costumed and performed in a theatre is a huge step for any new work. And the biggest piece of that puzzle, in my opinion, is the audience.”
After the successful preview night, the show went on to a completely sold-out run, which Friedman attributed to “great direction, great acting, great choreography, and a titillating story.”
Urso Gray also gushed that the success of the production is “a huge testament to the supportive community [in the Dallas area] … not only do our people want to support us, they also want to see NEW stuff!”
Prescriptions for Success: Lessons for the Next Wave of Writers
For writers looking to replicate the cleaVage team’s journey from a rough draft to a sold-out run, the cast and creatives have a few “post-op” prescriptions. The consensus? The process is long, the collaboration is vital, and sometimes, ignorance is bliss.
- Embrace the Rewrite
If there is one mantra the team subscribes to, it is the cycle of continuous improvement. Ron Friedman’s advice for aspiring musical writers was blunt and effective: “Get feedback. Rewrite. Get more feedback. Rewrite. Even though we’ve had our first full production, we’re already rewriting”. Goodenow added that this step is non-negotiable because “musicals aren’t supposed to be read.” - Check Your Ego at the Stage Door
For the actors bringing these new characters to life, the best writers are those who remain open to discovery. Wilson noted that she specifically seeks out creators who are “humble enough to know when their ‘baby’ has flown the nest.” Her advice to writers was to “ride the wave of change” and be inspired by the interpretations actors bring to the room, rather than resisting them. - Don’t Be Afraid to Promote (Shamelessly)
While art is the focus, an audience is the goal. Friedman attributed much of the run’s success to being a self-described “publicity whore”. By leveraging his network, securing radio spots on NPR, and landing magazine articles, he ensured the seats were filled before the curtain went up. Wilson added that “having writers that are actively involved and excited getting the word out in advance” was a huge boon for cleaVage’s success. - Trust the “Messy Middle”
Perhaps the most encouraging lesson comes from Friedman’s reflection on the sheer scale of the undertaking. “Had I realized the complexity of the process and the years involved, I might not have gotten started in the first place,” he admits. “So I am grateful for my naivete”. For Goodenow, the takeaway is about preparation and patience: “I think every writer aspires to a full production. Just make sure your show is ready for it. Do your development work first”. - Hometown Buzz
Don’t overlook the power of being the hometown kid when promoting and developing your show. Goodenow cheekily named “Ron’s massive network” as one of the main factors attributing to cleaVage’s successful run. Urso Gray agreed, adding: “I think cleaVage’s sold-out run is a huge testament to the supportive community that surrounds Dr. Ron, MusicalWriters.com, and the local actors on stage.” - Work with MusicalWriters.com
“If we have another production, we would happily ask Rebecca to do it again, knowing that we could expect an equally great outcome,” Friedman stated. Goodenow agreed: “I’m eternally grateful for MusicalWriters.com for this opportunity.”
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Post-Op Analysis and Future Plans
The “post-op” report from this step in cleaVage’s development cycle? Success, followed by more work. The team left the production with a high-quality video recording to share with future theaters, positive reviews, and crucial data for the next rewrite.
And as for why he’s dedicated years of their lives to a musical about plastic surgery? Dr. Friedman summed it up best with the show’s tongue-in-cheek philosophy: “Because everyone loves breasts.”
Photo from the full cleaVage production.
Lightning Round with cleaVage:
Coffee or tea?
- Friedman: Coffee
- Goodenow: Latte – HOT
- Wilson: If you know me, Coffee is the way to my heart
- Urso Gray: Neither, peppermint hot chocolate (no matter the time of year)
- Lowrey: half / half iced tea from Sonic (with a red straw)
Cats or dogs?
- Friedman: Dogs
- Goodenow: Cats
- Urso Gray: Dogs (and mine is the cutest in the world, sorry ‘bout it)
- Lowrey: Dogs, specifically mini schnauzers
Digital or Analog?
- Friedman: Digital
- Goodenow: Digital (I love the concept of analog, it’s just not efficient)
- Urso Gray: Digital xoxo
- Lowrey: Digital
Fly solo or team up?
- Friedman: Team up
- Goodenow: In theater? TEAM UP, 100%.
- Wilson: I love my solitude, but I am always down for a group adventure
- Urso Gray: Team up
- Lowrey: Fly solo…but remember: you can’t write a musical with only one brain.
Pizza or hamburgers?
- Friedman: Pizza
- Goodenow: Nachos
- Wilson: Pizza, please
- Urso Gray: Hamburgers
- Lowrey: Hamburgers
Road Trip or Fly?
- Friedman: Fly
- Goodenow: Fly (ideally to NYC or Paris)
- Urso Gray: Fly
- Lowrey: Fly
City, country, or suburbs?
- Friedman: Suburbia
- Goodenow: City
- Wilson: I am a city kid at heart with a soft spot for the country life
- Urso Gray: If beach isn’t an option, I guess I’ll choose Suburbs
- Lowrey: City
Flip flops or crocs?
- Friedman: Crocs
- Goodenow: Neither
- Wilson: Crocs. Don’t come for me.
- Urso Gray: Crocs
- Lowrey: Flip flops
Most recently used emojis?
- Friedman: Shovel, 😊
- Goodenow: 😘
- Brigitte: 🥰😂🤫🏳️🌈
- Urso Gray: 💕💀🥹✨😍🤩👀❤️🩹
- Lowrey: 😘🤷🏻♀️😬👀🍷
Last thing you texted?
- Friedman: Last night, I suggested my ski group be renamed Magic Mountains
- Goodenow: My fortune cookie: You will soon be asked a very important question
- Wilson: If I told you, I would have to kill you.
- Urso Gray: Got it thank you!
- Lowrey: 😘🤷🏻♀️😬👀🍷
Three things within arms reach right now?
- Friedman: M&Ms, post it notes, paperclips, iphone, patient charts
- Wilson: White cheddar popcorn, my current read, and a cup of freshly brewed coffee
- Urso Gray: My puppy, a cozy blanket and my emotional support water bottle
- Lowrey: Sour punch bites, my iPhone, a heated blanket
Where can our readers follow and learn more about you?
- Friedman: www.plasticsurgerydallas.com
- Goodenow: @laura__goodenow (Instagram), www.realwomenmakewaves.com
- Wilson: @bwil_dered (on Instagram and TikTok)
- Urso Gray: laureneurso@gmail.com, www.yourauthenticvoice-studio.com, @your_authentic_voice (Instagram)
- Lowrey: @accompanymusicals (on Instagram and TikTok)
Learn More
Follow the development of cleaVage on Instagram, X, TikTok, and YouTube at @cleaVagemusical. For more behind-the-scenes interviews and insights from workshop participants, visit MusicalWriters.com.
