Amanda vs. Red Scare

For those who aren't aware: they said Shipwrecked was racist because I wrote an Asian, despite M'Lady involving Cass writing an entire cast of white women being white boys.

Despite this, they've tried to get me to licence the Beach Song to them (via the back channels, because they're too afraid to ask me directly). I said no. Of course, my Māoritanga was criticised too, but I've been doing the knowledge on that for many years and have a huge amount of Māori fans, most of whom dig my script.

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They said Weeded Out was bigoted and Ellie needed to be Cass rather than Ingrid. They wanted me to rewrite Tina's big speech, they wanted me to remove the teaching scene where the parents fire Tim, and all the other scenes that offended the karens. They wanted it to be Pose (with duelling drag queens at Ivy), rather than bluegrass, classical and jazz. As I said, I rejected that vision, but was willing to sell the script to those dickheads so long as they used their own songs.

Now, however, I'm writing a book, much like them, and they need to respect that decision and be patient for a year or two. If they want to lift the boycott, then they need to build a relationship which isn't about them having higher status in the eyes of CNZ and arts administrators than me.

Stop reading over my shoulder is step 1. -

Going on... Then, when I finally found a theatrical subject and someone that was keen to do it, they couldn't resist trying to force themselves onto the team. I've been persuading Dave about my vision of full nudity by sending him some of the messed-up movies I watch.

This, Red Scare, is why we're enemies. Your vision of a sanitised, sweet Perfumed Garden is utterly ridiculous. All you want is for me to sing male songs in male clothes, but you're willing to compromise on the clothes now that I've proven I'm not a fetishist.

I keep saying your attitudes are transphobic because they really are. I'm actually better-known in the world of musicals for being a composer than a singer. People like my renditions of standards, but it's an extension of my profession as a composer.

People seldom comment on my lyrics. They're not as verbose as Sondheim's: my ideal was to have my lyrics sit as naturally as Harnick's while having that powerful simplicity that Hammerstein or Tom Jones has. -

You're the ones who kept accusing me of being only into it for the trannie kink, when in reality it was probably you two that were objectifying the trans person and weaponising their sex life as a method of control, coercion and blackmail.

You spread vicious rumours that destroyed my reputation because I pointed out that I was aware that Cass was reading my page. I called Ruby a bitch, and said that Cass reads because I know things that she doesn't know.

That's also part of the problem for me: the partners all become incredibly jealous if a singer starts working with me. I'm not as handsome as Manny, so people are often very awkward about learning from some strange-looking person that smells bad, and then the partners presume I'm attempting to seduce them.