King Ludwig II of Bavaria was a decadent monarch in the 19th century, known for funding Richard Wagner’s operas and building fairy-tale castles. His government deposed him due to homosexual insanity. The Mad Gay King explores Ludwig’s dangerous obsessions with the likes of a stable master called Richard Hornig, who arrives at the Bavarian court and brings him closer to the abyss. QX was fortunate to have a chat with the producer of the show, Amanda Schulz.
Tell us a little about yourself, in a quick fire round to get to know you!
First play /show you ever Produced?
The Mad Gay King! This production is not only my UK debut as a producer but also my theatrical debut as well. I went to art school in San Francisco and sort of fell (accidentally, but with intention) into film and television when I moved back home to Southern California in 2013. Over the last eleven years, I have worked from the very bottom of the film industry ranks to producer in (mostly) comedy television. I’ve done everything from sketch comedy shows to documentary film, but my specialty is scripted/unscripted hybrid comedy shows. . . which is a very niche, fake sounding genre but I swear it’s real.
Favourite pastime?
I’ve been a writer my entire life, but I’ll probably still consider it a pastime until I have something of my own out there. Last year, I had my first novel published (as an ebook, so I barely count it) which was a historical fiction erotica I wrote for fun during the pandemic. I also enjoy pole dancing and performing in the very American tradition of the Renaissance Pleasure Faire—a 5-week faire in a park where we gather to cosplay the reign of Queen Elizabeth. Please don’t judge, I know this all makes me sound so American. I also like gardening!
All-time favourite show/play?
This is where things will get a little embarrassing as I lack the same theatre background as my colleagues. That said, in LA we have a growing scene of fringe style shows which are mostly solo comedy shows, but feel more like theatre than the regionally common stand-up or improv. Of those, a few of my favourites are: A Tour of Anna by Anna Seregina (dir. by Mitra Jouhari), Gutterplum by Courtney Pauroso (dir. by Corey Podell), and a piece out of NY called Slash, by the directors of the comedy special I produced last year, Emily Allen and Leah Hennessey.
Most nerve wracking part of producing a premiere?
Honestly – and maybe it’s my lack of experience in theatre talking – I’m not nervous at all. I am in such awe of every artist working on this project that I trust the process completely. The biggest change for me transitioning from television is not having an institution providing financial backing, so I guess that is a little nerve wracking. But when isn’t money a stressor? That said, not being beholden to an institution is also completely freeing and the exact reason I wanted to ditch the TV industry for a bit. The older I get, the more I lean into the things that would have previously made me anxious – and find pure excitement in the experience. You can ask me again after it’s over and I may have a different response, but I hope not!
Favourite part of your job?
I love seeing how an idea can shift and evolve throughout the process, and how the final piece will inevitably take on a life of its own informed by the story of every artist that has touched it. I never intended to become a producer, even eleven years ago, but it really is the best way to get insight into the process of any medium. And really, every artist is a producer at heart. Anyone who has a vision they truly believe in learns to do whatever they must to ensure it comes to life. I know what it is like to need support in that sense. We all need someone to believe in us and what we have to say – I love being that person for other artists.
Rehearsals / Dress Run / Opening Night or Closing Night – which is your favourite and why?
(again, as it’s your first, you only have rehearsals to discuss but you can say which of the next bit you’re excited for)
I can only speak to rehearsals so far, but I do have a lot of thoughts! The process is so different from television, at least the kind I make. I love the intimacy of the rehearsal space when you remove all the production and crew elements. Immediately, from our first read-through, I could feel the openness of the cast. I think this is a hard thing to preserve in television simply because there are so many voices and moving parts at any given time, it’s almost like a machine. The rehearsal process in theatre feels so much more connected and human, with room for error and evolution. It leaves little space for ego which has long been my bogeyman in the television industry.
I’m also very excited to see how the audience will inform the piece once it is up. It’s rare in TV to get the immediate gratification of seeing the viewer’s response, and I’m very much looking forward to that feeling. It feels like a privilege.
Now onto The Mad Gay King…
For those who don’t know, could you explain the story/plot of The Mad Gay King?
I think The Mad Gay King is about radical acceptance of queer histories that have only been whispered about or “othered” until recent times. History is gay. Like, really, very gay. Yet we still talk about queer stories as B plots. Queer histories are still treated like this elective class at University rather than part of the core narrative. It is part of our story as humans and the queerness of historical figures is essential to understanding their position in history. That being said! The Mad Gay King is also the story of King Ludwig IIof Bavaria, and the real impact living as a gay man in an unforgiving century had on his ability to rule and to simply survive. It dives into class structures and mental health, all through a delicate love story that will absolutely gut any red-blooded human.
Who would you say the show is for?
Honestly, I think it is for everyone. My dad was very old when I was born which left little for us to connect over – but we both loved history. I think telling historical stories through a new lens is such a unique way to blend generations and create a space for a meeting of the minds. Obviously, this show will be loved by young, queer audiences – but I’m interested to see if we can bring in an older audience as well, maybe bring people together that might not share space on a regular day. That’s how important conversations can grow. And this show deals with some very powerful themes that could really use those cross-generational conversations.
What made you want to produce The Mad Gay King?
Last year was a rough one for me. My entire industry was on pause due to multiple strikes, and my regular gigs were being indefinitely pushed. In the early part of 2023, I produced my first stand up special for my dear friend and favourite comedian, John Early. I was immediately ignited by the energy of producing work for a live audience. As the strike carried on, I formed a secret desire to learn how to produce theatre – but really had no outlet for it in Los Angeles. In the Autumn, I met Christopher and they instantly became my favourite writer. We became fast friends and it’s simply impossible not to believe wholeheartedly in their vision. After my father passed in October of last year, I decided to shift focus in my career and start pursuing jobs that challenge me creatively rather than rely on the safety of what I already know. Once Kings Head Theatre came on board, it just felt like it was meant to be.
Also, my father was a first generation American born to German immigrant parents. I always felt like I wanted to hide my German heritage due to the immediate historical connotations people make, so it was nice to learn about a figure from my culture that I actually felt proud of. As simple as that sounds.
Why should people come and see the show?
It has everything! Every element of this show is perfection, from our incredible sound design by J Aria to our innovative lighting concept by Joe Bryant. But the real draw is the chemistry between our actors. Even during our first read-through, I got butterflies watching the love story unfold and I think everyone else will too. We need more butterflies in the world right now! The play is also quite funny, which adds a levity to an otherwise tragic tale. I’m so proud of Christopher’s comedic timing, I don’t even think they realised how funny some parts of the play were until we got the actors in the room.
What makes this show different to the others in the genre?
The modernity of the staging and the streamlined design combine to form something dynamically contemporary yet classic. I think modern retellings have gotten a little trendy in recent years, especially in film, and it’s very easy to go wild with it. Christopher came from the world of underground theatre and after-hours queer parties in LA, so we wanted that world to somehow collide with Ludwig’s – but not to go overboard. Our director, Scott Le Crass, immediately understood that vision and has used it in a very clever, unobvious way. Scott’s work is really stripped back, which I love, as it juxtaposes the eloquence of the writing perfectly. I think it all works so well together, its modern and unpretentious. No string quartet renditions of Katy Perry songs in this show!
The Mad Gay King plays from 3 – 18 October 2024 at King’s Head Theatre, Islington Square, 116 Upper Street, The Angel, London N1 1AB, United Kingdom.
All images supplied. Main feature image Elijah Ferreira (King Ludwig II of Bavaria) with Richard Hornig (David Buttle).
