This was taken from Gail Edwards page dedicated to her appearance in this play

WWW.GAILEDWARDS.COM

Producers:

Pat Hughes • Howard Sanderson • Varèse Sarabande

Writer:

Bruce Kimmel

Director:

James Bradford

Edwards is classic in her interpretation of this alley cat queen of bondage and discipline, an absolute laugh panic.
—Gail Edwards, winner of the Drama-Logue Critic's Award for “The Good One”

Gail Edwards into whips and chains . . . is first-rate support!
—The Hollywood Reporter

Gail Edwards gives depth to what could have been a two-dimensional role as Tura, the Leather Queen.
—Variety

Internet Question:
The reviews sure seem to suggest that you had a good time with this role. I only really know you from “Full House.” How does one come about choosing a part like “Tura, the Leather Queen?” G’day.

—Rubin, W., Perth, Australia

Quality projects come to me in all shapes and sizes via friends, management, or producing them myself. “The Good One” came through my agent. At the time, she was friends with the writer/producer and thought it was a wild enough part that I could have some fun with it. I read the script and liked it immediately. And since I have such a sweet, sincere reputation, I had to show that I wasn't afraid to let it all hang out, as this black-leather-queen character needed to do.

That's really the challenge for all actors along the way—not to play it too save by duplicating the same predictable character.

Regards,

Gail

 

Bruce Kimmel has this to say about the show

06/02/2002

I was appearing in a play of my own authoring, entitled The Good One. One of my leading ladies, Penny Peyser, had brought her son, who was, I think, around four or five at the time, to see the show. At some point, we have a little kissing scene - I move towards her (it's a funny scene and the audience is usually chuckling at my ineptitude), we do our little "awkward" business just prior to the kiss, and then we share a lovely romantic kiss. Just as our lips come together and we are kissing, we hear from the audience, quite loudly, her son saying, "Yuck!" Well, the audience began to howl with laughter, and all Penny and I could do was hold the kiss and wait for the laughter to stop - this, of course, only made the laugh grow, and then we started to break up, too. Some five minutes later we were finally able to carry on.

O2/04/02

I also watched the DVD transfer of a play I wrote in 1984 called The Good One. My how times have changed and how smarmy some of it seems. It's still got some very amusing bits though. I'm in it as well, and I must say I'm quite annoying at times. Other times I'm quite okay. I'd forgotten how absolutely wonderful Gail Edwards is as a rubber/leather/SM freak named Tura. She gives a brilliant performance - laugh after laugh, all timed perfectly. I just had to sit there and react - my favorite kind of acting. Penny Peyser is also terrific as the girl my character ends up with, and Rick Waln was excellent as my best friend. It's very old fashioned structurally, which I like, a real three-act comedy. They don't seem to do that anymore, but I really like that style.

12/07/02

The Good One was the first non-musical I wrote (although it had a handful of songs, as the leading character was a songwriter) – a three-act comedy about a fellow who’s just had a bad breakup with his girlfriend and who takes personal ads and lies about himself (differently in each act). Each act is devoted to the girl he meets from the personals. It was well-received here in Los Angeles, had a nice run at the Coast Playhouse and won a Dramalogue Award for Ms. Edwards, who was quite brilliant in it (as Tura, an S&M leather queen). It was the most fun I’ve ever had on stage and let me tell you it wasn’t difficult to keep weight off during the run of that show – I was literally never off the stage for two hours