Neal Fox changes hats as often as Dolly Parton changes wigs. He had his first band at age 14, rehearsing in the basement of his parent's Brooklyn home. At 20, he was signed to Polydor's Event Record label as part of the duo, Mancini & Fox. When the duo split, Neal was offered solo deals on RCA and Columbia Records. Everyone loved his music. Billboard said he was comfortable in any style from rock to pop. But no one could figure out how to market this diverse artist. Later that would work to Neal’s advantage.
		Meanwhile, Neal entered Phase Two: the jingle biz. (Hey, a guy's gotta eat.) Neal moved to San Diego where he hooked up with two other talented guys, Ron Walz and Rick Patterson. Their successful music production company, Patterson, Walz & Fox, composed and produced music for everything from TV to film. Neal’s contributions included writing and/or producing music for hundreds of commercials from Coke to MacDonald's, TV themes, i.e., CBS Evening News with Dan Rather, network promos for NBC, and co-scores for the campy Killer Tomato movies. Somewhere between the Dan Rather and Connie Chung themes, long-time friend and business partner, Stuart Wiener, asked Neal if he would be interested in writing children’s books for a multi-cultural audience. Neal thought it was a great idea. His wife, Naomi, wrote the stories, while Neal illustrated the books and wrote the score for the accompanying cassettes. The books, marketed under the Confetti Company name ("because children come in all colors") were narrated by actor Robert Guillaume and were the inspiration for an animated series on HBO. Tired of the jingle biz, and wanting to get back to his own creations, Neal decided to write his first full-length musical. He locked himself in his studio for days at a time while Naomi left food trays outside his door. (Okay, not true. But close.) The result was Meat Street, a dark comedy about planet Earth. After its seventy-fifth re-write (also not true, but it sure felt close), and cutting the cast from 26 to 19 (true) Neal decided to simplify. The result was Jingle This!, a semi-autobiographical musical comedy that got enthusiastic reactions from theatre folk. Now Neal was on a roll. He came up with a great idea for a one-man multi-media show that would do two things for him: get him back into live performance, and give him new skills as an animator and videographer. And that brings us to Pigeonholes.