I have a musical called Goodbye and Good Luck, based on a Grace Paley short story. I also have King Island Christmas, and there are 20 different productions of it this year.

In this remark, Friedman is essentially taking inventory of his current creative output and its real-world uptake. By naming two specific stage works—one adapted from a literary short story and another apparently enjoying numerous seasonal stagings—he highlights two common pathways for contemporary musical-theatre composers: adaptation (leveraging an existing narrative and audience recognition) and repertory circulation (a piece’s life measured by how often it is produced). The mention of “20 different productions … this year” underscores the practical, career-sustaining side of theatre: visibility, licensing, and the way a work’s success is often quantified through productions rather than reviews or awards.