NEW YORK Producers Roger Berlind and Daryl Roth last collaborated on Broadway with “Proof,” which went on to take the Pulitzer Prize. Their next Broadway venture together has already won the award.

Reviews pending, they’re onboard to move Nilo Cruz‘s “Anna in the Tropics” from New Jersey’s McCarter Theater, where it opens in October, to Broadway. Jimmy Smits stars and Emily Mann directs.

The producing duo also looks to present the Second Stage revival of Craig Lucas‘ play “Reckless,” starring Mary-Louise Parker, on Broadway. Mark Brokaw directs.

Sans Berlind, Roth and Roy Gabay have the commercial option to transfer Paula Vogel‘s “The Long Christmas Ride Home,” which opens in October at the Vineyard under the direction of Brokaw.


Getting in on the act

“We’ve been looking for the male ‘Vagina Monologues’,” says Clint Mitchell.

Apparently the William Morris agent has found it in “Cock Tales.”

The evening of 13 monologues, all written by men, recently concluded a 10-month run in Hollywood, where it played the M Bar and the Zephyr and Elephant theaters.

“Cock Tales” is the creation of Debra De Liso, who teaches acting and playwriting at USC. Two years ago, she noticed her male students were writing a lot about sex. (“This year, it happens to be drugs,” she informs.)

Unlike “Vagina Monologues,” a few of the “Cock Tales” stories are fictional.

“In the beginning, I wanted to keep them all nonfictional, but two fictional pieces went to such extremes, I had to put them in.” Those include a story about a transvestite; another details the exploits of a pedophile priest.

William Morris looks to put one of its star directors on “Cock Tales,” with the Denver Center Theater a possible first stop for the retooled show.

De Liso takes the practical approach to watching her baby boy grow up.

“This has all been on my dime,” she says. “It is time to get real money. If it can fly faster with a name (director), I’m happy to let it go. I am confident it will come back to me.”


New kid on the block

Broadway currently features the work of most of the industry’s prominent set designers — among them Bob Crowley (“Aida”), John Lee Beatty (“Chicago”), Robin Wagner (“The Producers”) and Santo Loquasto (“Long Day’s Journey Into Night,” “Movin’ Out”).

But the designer with the most shows currently running is a relative newcomer to the biz.

Scott Pask has created the physical worlds of “Nine,” “Take Me Out” and “Urinetown,” his Broadway debut effort. When “Little Shop of Horrors” begins previews later this month, an astounding one-fifth of the shows on Broadway will have sprung from Pask’s prolific drawing board.

He credits Crowley as his “great friend and mentor.” The veteran designer became a fan after seeing Pask’s design for “Bash,” by Neil LaBute, which led to an introduction to Crowley’s brother, John, who brought Pask onboard to design Christopher Hampton‘s “Tales From Hollywood” at London’s Donmar and the upcoming “The Pillow Man” by Martin McDonagh at the National Theater.

One of the major surprises of the 2002-03 Tony noms was the committee’s failure to give a nod to Pask. Some observers blamed the oversight on intense self-competition: In addition to “Nine” and “Take Me Out,” Pask also designed the Magritte-influenced unit set for “Amour” this past season.

What links Pask’s three Broadway shows?

“There is an architectural precision about them. The design is reduced to what is essential for storytelling and nothing more,” Pask says.

“Little Shop” marks the big departure.

“I’m developing a graphic-novel approach to Skid Row. It is whimsical. The pieces work together,” says Pask, “but in no way is this architectural precision.”