Andrew Fox on “Slam Frank”: Make Something Dangerous

The Gist – Episode Summary

Podcast: The Gist
Host: Mike Pesca, Peach Fish Productions
Guest: Andrew Fox (creator of the musical "Slam Frank")
Date: September 22, 2025
Episode Title: Andrew Fox on “Slam Frank”: Make Something Dangerous
Running Time: ~55 min

EPISODE OVERVIEW

This episode of "The Gist" features a provocative conversation between host Mike Pesca and composer/playwright Andrew Fox, creator of the controversial satirical musical "Slam Frank." The discussion centers on Fox's inspiration for "Slam Frank," the boundaries and absurdities of identity discourse in the arts, the real-life debates fueling the show, and how Fox's work challenges the lines between empathy, offense, and artistic freedom in contemporary theater. With irreverent humor and sharp insight, the two explore modern theater's climate and its tensions around representation, "privilege" narratives, and the dangers (and necessities) of making genuinely risky art.

KEY DISCUSSION POINTS AND INSIGHTS

1. Etymology of “Jawboning” and Setting the Tone

[01:02]–[08:18]
Mike Pesca opens with a segment dissecting the term "jawboning," defining it as government officials using verbal persuasion (often implied threats) to pressure private industry (recent Supreme Court case: NRA v. Volo).
- Quote: “Jawboning is the practice by which a government official pressures private industry into or out of something through verbal persuasion laced with a plausible threat.” — Mike Pesca [01:31]
Pesca draws a parallel between rhetorical jawboning and the real menace that can underlie language—framing for later discussions about the power of narratives and persuasion in art and culture.

2. The Birth and Premise of "Slam Frank"

[08:18]–[09:39]
Andrew Fox, described by Pesca as "an artiste who looked at the culture and said... I will sculpt it into something," discusses the origins of "Slam Frank"—a satirical musical inspired by serious online debates about whether Anne Frank possessed "white privilege."
The show uses hyperbolic casting and intersectional designations to lampoon both the contemporary theater world's politics and the discourse on identity.
- Premise details: Anne Frank reimagined as a Latina, Edith Frank as a "white theater writer’s idea of a strong black woman," Peter Van Dam grappling with gender identity, Otto Frank as neurodivergent, and more.
- Notable quote:
  “We workshopped it at the BMI workshop before they said, you should not come back here with that musical and if you do, we’ll kick you out.”
  — Andrew Fox [10:39]

3. Satirizing Sincerity and Social Justice Discourse

[11:03]–[12:31]
The genesis of "Slam Frank" is traced to real Twitter debates—many of which, Fox observes, were not obviously ironic. Fox relishes the ambiguity between irony and sincerity in these spaces.
- Quote: “A lot of those tweets were definitely sincere.” — Andrew Fox [12:08]

4. Processing the Absurd Through Musical Theater

[12:42]–[13:39]
Fox discusses processing cultural insanity through the lens of musical theater.
- Quote: “You just look in there and it’s just cartoon, you know, flowers singing and things like that—but with. But with a little bit more genocide.” — Andrew Fox on his own mind [12:42]
Fox mentions theater scandals, such as the controversial recasting of Anne Frank as Latino immigrants, and the shifting "rules" of identity-based casting.

5. Identity, Casting, and the Shifting Rules in Theater

[13:40]–[20:21]
The hosts dig into the history of ethnic casting—the "Mediterranean" or "ethnic" catch-all, and the shift toward rigid identity policing in recent years (e.g., “only a Latino can play a Latino—okay, can a Spaniard play a Latino?”).
The absurdity of enforcing such boundaries is discussed with references to actors like Giancarlo Esposito and Lou Diamond Phillips, whose backgrounds defy neat categorization.
- Memorable exchange:
  “You have to present your papers like you’re a dog. Like, this is what breed I am.”
  — Andrew Fox, referencing Lou Diamond Phillips and ethnic casting [18:17]

6. The “Latinx” Debate and Prescribed Language

[20:21]–[24:46]
Fox reflects on his own family, Latinx as a “white people word,” and the way prescribed progressive terminology frequently diverges from the real lives—and language—of the people it claims to serve.
Describes the performative language in theater circles: “you start getting this prescribed language and pretty soon everybody’s kind of talking like a cult member. And meanwhile the room has not gotten any more diverse.”
— Andrew Fox [23:13]

7. Loss of Perspective Empathy and the Didactic Trap

[24:58]–[26:44]
Fox observes a cultural trend toward “tremendous emotional empathy, but zero perspective empathy,” especially when judging the past by current standards. The musical is written from the POV of a character with absolute moral certainty and no understanding of history or context.
"I kept seeing observations about the past that had no empathy, no perspective empathy for the past…"
— Andrew Fox [25:13]

8. Inside the Theatre Industry: BMI Workshop, Activism, and Parody

[26:44]–[32:08]
Fox candidly describes the BMI Musical Theatre Workshop as a microcosm of contradictions—offering real opportunity and training but also a “parody of a progressive space,” with ironically un-diverse rooms full of people echoing empty activist language.
“It’s just a fucking room full of white NPR dudes going, I like lifting up marginalized people.”
— Andrew Fox [28:58]
The musical’s structure: originally a “making-of” then “full show”; now it plunges the audience directly into an unrelenting satire.
- “I have felt a lot of pain working in musical theater and I am subjecting the audience to that same pain. Hurt people. Hurt people.”
  — Andrew Fox [32:08]

9. Hamilton, Satire, and Reductio ad Absurdum

[33:50]–[37:21]
Discussing the first big “Hamilton-esque” song in "Slam Frank": The musical’s humorous musical numbers directly parody both Lin-Manuel Miranda’s style and the arbitrary adaptation of historical narratives to current activism.
- Fox: “It’s not interesting to say, oh, Lin-Manuel Miranda shouldn’t have done this. It’s more to say, okay, well this is okay...Why don’t I follow those rules and see how far I can take them?” [34:36]
The value of art raising questions instead of delivering predetermined answers—calling out the didactic tendency in modern progressive theater:
- “The worst fucking theatrical experience you can have...is one where everybody walks away as if they've read an essay and they know what you think...” — Andrew Fox [37:21]

10. The Pain and Joy Behind Satirical Work

[38:03]–[41:41]
The writing process: fueled by both “fun” and “a lot of pain and rage.” Fox describes how the conversations and environments that inspired "Slam Frank" were deeply dehumanizing for both white and minority artists—each experiencing reduction to immutable traits.
- "Ultimately, it’s dehumanizing...that was also happening in both cases."
  — Andrew Fox [41:41]

11. DEI Meetings and the Shared Pain of Reduction

[41:41]–[45:40]
Fox recounts his experiences with diversity, equity, and inclusion (DEI) meetings in theater academia—describing a scene where both Black and white colleagues feel patronized, diminished, and frustrated.
“When you’re in the room of that DEI meeting, everyone in that room hates that meeting.”
— Andrew Fox [42:09]
The musical mocks these spaces but with an empathy for everyone caught in their dysfunction.

12. Reception, Gatekeeping, and Risk in the Theatre World

[46:32]–[54:49]
Fox talks about his intentional alienation from the establishment—knowing "Slam Frank" would be rejected by traditional gatekeepers but betting on its resonance outside those channels.
“Honestly, I didn’t care. In 2023, I quit the industry for good. ... I have to make this. This is like a big dump and I have to get it out of me.”
— Andrew Fox [47:15]
The show has been protested and has rapid ticket sales, showing its ability to provoke and attract despite (or because of) its "dangerous" nature.
Fox derides “dangerous” art that’s actually bland, formulaic, and safely progressive:
- “People will submit these plays, and they’re like, I wrote the most dangerous play. It’s about how lesbians are okay... Make something scary. Make something challenging. Make something that surprises people, because everyone’s bored. ... Give me a car crash.” [54:07]

NOTABLE QUOTES & MEMORABLE MOMENTS

| Timestamp | Quote | Speaker | |-----------|-------|---------| | 01:31 | “Jawboning is the practice by which a government official pressures private industry into or out of something through verbal persuasion laced with a plausible threat.” | Mike Pesca | | 10:39 | “We workshopped it at the BMI workshop before they said, you should not come back here with that musical and if you do, we’ll kick you out.” | Andrew Fox | | 12:08 | “A lot of those tweets were definitely sincere.” | Andrew Fox | | 12:42 | “It’s just cartoon flowers singing and things like that—but with. But with a little bit more genocide.” | Andrew Fox | | 18:17 | “You have to present your papers like you’re a dog. Like, this is what breed I am.” | Andrew Fox | | 23:13 | “You start getting this prescribed language and pretty soon everybody’s kind of talking like a cult member. And meanwhile the room has not gotten any more diverse.” | Andrew Fox | | 25:13 | “I kept seeing observations about the past that had no empathy, no perspective empathy for the past…” | Andrew Fox | | 28:58 | “It’s just a fucking room full of white NPR dudes going, I like lifting up marginalized people.” | Andrew Fox | | 32:08 | “Hurt people. Hurt people. And I have been hurt by musicals and I want everybody else to feel my pain.” | Andrew Fox | | 37:21 | “The worst fucking theatrical experience you can have and the worst art you can create is one where everybody walks away as if they've read an essay and they know what you think and they know what they're supposed to feel.” | Andrew Fox | | 41:41 | “Ultimately, it’s dehumanizing...that was also happening in both cases.” | Andrew Fox | | 42:09 | “When you’re in the room of that DEI meeting, everyone in that room hates that meeting.” | Andrew Fox | | 47:15 | “Honestly, I didn’t care. In 2023, I quit the industry for good...I have to make this. This is like a big dump and I have to get it out of me.” | Andrew Fox | | 54:07 | “Make something scary. Make something challenging. Make something that surprises people, because everyone’s bored. ... Give me a car crash.” | Andrew Fox |

TIMESTAMPS FOR IMPORTANT SEGMENTS

[01:02] – [08:18]: Jawboning segment—sets up themes of rhetorical pressure and authority.
[08:18] – [11:03]: Introduction of Andrew Fox and "Slam Frank"; premise and inspiration.
[13:40] – [20:21]: Discussion of casting, identity, and social justice policing in theater.
[23:13] – [24:46]: The cult-like language of progressive theater circles.
[25:13] – [26:44]: The danger of empathy without perspective and judging history.
[28:58]: Parody of progressive theater culture.
[30:19] – [32:08]: Structural shifts in the musical; art as shared pain.
[33:50] – [34:36]: “Hamilton” parody and the logic of taking activist rules to their extreme.
[37:21]: Value of ambiguity in art versus clear didacticism.
[41:41] – [45:40]: DEI meetings and the universal pain of reduction.
[47:15] – [54:07]: Rejecting the establishment, seeking real provocation, and "dangerous" art’s true meaning.

CONCLUSION

This episode is a wry, revealing look at the collision of art, activism, and identity. Andrew Fox’s "Slam Frank" emerges as both a product of and a commentary on an industry obsessed (and often stifled) by self-conscious progressivism and identity rules. Pesca and Fox’s conversation will intrigue anyone interested in the limits of satire, the perils of artistic conformity, and the enduring need for art that dares to offend, surprise, and ignite real debate.

Slam Frank runs at NYC's Asylum theater Sept 17–Oct 11, 2025. (It’s selling out—and being protested.)

The Gist – Episode Summary

EPISODE OVERVIEW

KEY DISCUSSION POINTS AND INSIGHTS

1. Etymology of “Jawboning” and Setting the Tone

[01:02]–[08:18]
Mike Pesca opens with a segment dissecting the term "jawboning," defining it as government officials using verbal persuasion (often implied threats) to pressure private industry (recent Supreme Court case: NRA v. Volo).
- Quote: “Jawboning is the practice by which a government official pressures private industry into or out of something through verbal persuasion laced with a plausible threat.” — Mike Pesca [01:31]
Pesca draws a parallel between rhetorical jawboning and the real menace that can underlie language—framing for later discussions about the power of narratives and persuasion in art and culture.

2. The Birth and Premise of "Slam Frank"

[08:18]–[09:39]
Andrew Fox, described by Pesca as "an artiste who looked at the culture and said... I will sculpt it into something," discusses the origins of "Slam Frank"—a satirical musical inspired by serious online debates about whether Anne Frank possessed "white privilege."
The show uses hyperbolic casting and intersectional designations to lampoon both the contemporary theater world's politics and the discourse on identity.
- Premise details: Anne Frank reimagined as a Latina, Edith Frank as a "white theater writer’s idea of a strong black woman," Peter Van Dam grappling with gender identity, Otto Frank as neurodivergent, and more.
- Notable quote:
  “We workshopped it at the BMI workshop before they said, you should not come back here with that musical and if you do, we’ll kick you out.”
  — Andrew Fox [10:39]

3. Satirizing Sincerity and Social Justice Discourse

[11:03]–[12:31]
The genesis of "Slam Frank" is traced to real Twitter debates—many of which, Fox observes, were not obviously ironic. Fox relishes the ambiguity between irony and sincerity in these spaces.
- Quote: “A lot of those tweets were definitely sincere.” — Andrew Fox [12:08]

4. Processing the Absurd Through Musical Theater

[12:42]–[13:39]
Fox discusses processing cultural insanity through the lens of musical theater.
- Quote: “You just look in there and it’s just cartoon, you know, flowers singing and things like that—but with. But with a little bit more genocide.” — Andrew Fox on his own mind [12:42]
Fox mentions theater scandals, such as the controversial recasting of Anne Frank as Latino immigrants, and the shifting "rules" of identity-based casting.

5. Identity, Casting, and the Shifting Rules in Theater

[13:40]–[20:21]
The hosts dig into the history of ethnic casting—the "Mediterranean" or "ethnic" catch-all, and the shift toward rigid identity policing in recent years (e.g., “only a Latino can play a Latino—okay, can a Spaniard play a Latino?”).
The absurdity of enforcing such boundaries is discussed with references to actors like Giancarlo Esposito and Lou Diamond Phillips, whose backgrounds defy neat categorization.
- Memorable exchange:
  “You have to present your papers like you’re a dog. Like, this is what breed I am.”
  — Andrew Fox, referencing Lou Diamond Phillips and ethnic casting [18:17]

6. The “Latinx” Debate and Prescribed Language

[20:21]–[24:46]
Fox reflects on his own family, Latinx as a “white people word,” and the way prescribed progressive terminology frequently diverges from the real lives—and language—of the people it claims to serve.
Describes the performative language in theater circles: “you start getting this prescribed language and pretty soon everybody’s kind of talking like a cult member. And meanwhile the room has not gotten any more diverse.”
— Andrew Fox [23:13]

7. Loss of Perspective Empathy and the Didactic Trap

[24:58]–[26:44]
Fox observes a cultural trend toward “tremendous emotional empathy, but zero perspective empathy,” especially when judging the past by current standards. The musical is written from the POV of a character with absolute moral certainty and no understanding of history or context.
"I kept seeing observations about the past that had no empathy, no perspective empathy for the past…"
— Andrew Fox [25:13]

8. Inside the Theatre Industry: BMI Workshop, Activism, and Parody

[26:44]–[32:08]
Fox candidly describes the BMI Musical Theatre Workshop as a microcosm of contradictions—offering real opportunity and training but also a “parody of a progressive space,” with ironically un-diverse rooms full of people echoing empty activist language.
“It’s just a fucking room full of white NPR dudes going, I like lifting up marginalized people.”
— Andrew Fox [28:58]
The musical’s structure: originally a “making-of” then “full show”; now it plunges the audience directly into an unrelenting satire.
- “I have felt a lot of pain working in musical theater and I am subjecting the audience to that same pain. Hurt people. Hurt people.”
  — Andrew Fox [32:08]

9. Hamilton, Satire, and Reductio ad Absurdum

[33:50]–[37:21]
Discussing the first big “Hamilton-esque” song in "Slam Frank": The musical’s humorous musical numbers directly parody both Lin-Manuel Miranda’s style and the arbitrary adaptation of historical narratives to current activism.
- Fox: “It’s not interesting to say, oh, Lin-Manuel Miranda shouldn’t have done this. It’s more to say, okay, well this is okay...Why don’t I follow those rules and see how far I can take them?” [34:36]
The value of art raising questions instead of delivering predetermined answers—calling out the didactic tendency in modern progressive theater:
- “The worst fucking theatrical experience you can have...is one where everybody walks away as if they've read an essay and they know what you think...” — Andrew Fox [37:21]

10. The Pain and Joy Behind Satirical Work

[38:03]–[41:41]
The writing process: fueled by both “fun” and “a lot of pain and rage.” Fox describes how the conversations and environments that inspired "Slam Frank" were deeply dehumanizing for both white and minority artists—each experiencing reduction to immutable traits.
- "Ultimately, it’s dehumanizing...that was also happening in both cases."
  — Andrew Fox [41:41]

11. DEI Meetings and the Shared Pain of Reduction

[41:41]–[45:40]
Fox recounts his experiences with diversity, equity, and inclusion (DEI) meetings in theater academia—describing a scene where both Black and white colleagues feel patronized, diminished, and frustrated.
“When you’re in the room of that DEI meeting, everyone in that room hates that meeting.”
— Andrew Fox [42:09]
The musical mocks these spaces but with an empathy for everyone caught in their dysfunction.

12. Reception, Gatekeeping, and Risk in the Theatre World

[46:32]–[54:49]
Fox talks about his intentional alienation from the establishment—knowing "Slam Frank" would be rejected by traditional gatekeepers but betting on its resonance outside those channels.
“Honestly, I didn’t care. In 2023, I quit the industry for good. ... I have to make this. This is like a big dump and I have to get it out of me.”
— Andrew Fox [47:15]
The show has been protested and has rapid ticket sales, showing its ability to provoke and attract despite (or because of) its "dangerous" nature.
Fox derides “dangerous” art that’s actually bland, formulaic, and safely progressive:
- “People will submit these plays, and they’re like, I wrote the most dangerous play. It’s about how lesbians are okay... Make something scary. Make something challenging. Make something that surprises people, because everyone’s bored. ... Give me a car crash.” [54:07]

NOTABLE QUOTES & MEMORABLE MOMENTS

TIMESTAMPS FOR IMPORTANT SEGMENTS

[01:02] – [08:18]: Jawboning segment—sets up themes of rhetorical pressure and authority.
[08:18] – [11:03]: Introduction of Andrew Fox and "Slam Frank"; premise and inspiration.
[13:40] – [20:21]: Discussion of casting, identity, and social justice policing in theater.
[23:13] – [24:46]: The cult-like language of progressive theater circles.
[25:13] – [26:44]: The danger of empathy without perspective and judging history.
[28:58]: Parody of progressive theater culture.
[30:19] – [32:08]: Structural shifts in the musical; art as shared pain.
[33:50] – [34:36]: “Hamilton” parody and the logic of taking activist rules to their extreme.
[37:21]: Value of ambiguity in art versus clear didacticism.
[41:41] – [45:40]: DEI meetings and the universal pain of reduction.
[47:15] – [54:07]: Rejecting the establishment, seeking real provocation, and "dangerous" art’s true meaning.

CONCLUSION

Slam Frank runs at NYC's Asylum theater Sept 17–Oct 11, 2025. (It’s selling out—and being protested.)

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Summary

The Gist – Episode Summary

EPISODE OVERVIEW

KEY DISCUSSION POINTS AND INSIGHTS

1. Etymology of “Jawboning” and Setting the Tone

2. The Birth and Premise of "Slam Frank"

3. Satirizing Sincerity and Social Justice Discourse

4. Processing the Absurd Through Musical Theater

5. Identity, Casting, and the Shifting Rules in Theater

6. The “Latinx” Debate and Prescribed Language

7. Loss of Perspective Empathy and the Didactic Trap

8. Inside the Theatre Industry: BMI Workshop, Activism, and Parody

9. Hamilton, Satire, and Reductio ad Absurdum

10. The Pain and Joy Behind Satirical Work

11. DEI Meetings and the Shared Pain of Reduction

12. Reception, Gatekeeping, and Risk in the Theatre World

NOTABLE QUOTES & MEMORABLE MOMENTS

TIMESTAMPS FOR IMPORTANT SEGMENTS

CONCLUSION

Summary

The Gist – Episode Summary

EPISODE OVERVIEW

KEY DISCUSSION POINTS AND INSIGHTS

1. Etymology of “Jawboning” and Setting the Tone

2. The Birth and Premise of "Slam Frank"

3. Satirizing Sincerity and Social Justice Discourse

4. Processing the Absurd Through Musical Theater

5. Identity, Casting, and the Shifting Rules in Theater

6. The “Latinx” Debate and Prescribed Language

7. Loss of Perspective Empathy and the Didactic Trap

8. Inside the Theatre Industry: BMI Workshop, Activism, and Parody

9. Hamilton, Satire, and Reductio ad Absurdum

10. The Pain and Joy Behind Satirical Work

11. DEI Meetings and the Shared Pain of Reduction

12. Reception, Gatekeeping, and Risk in the Theatre World

NOTABLE QUOTES & MEMORABLE MOMENTS

TIMESTAMPS FOR IMPORTANT SEGMENTS

CONCLUSION