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46 The Colorist | NOVEMBER/DECEMBER 2014 | thecoloristmag.com Marie Ferro, owner of Marie's Hair Studio in Malibu, California, has a stable of celebrity clients and a long list of magazine credits. Recently she added producer to her resumé. poi t of view PHOTOGRAPHY: COURTESY OF MARIE FERRO. the producer T wo years ago, Marie Ferro met Arthur Janov, the creator of primal therapy, which posits the theory that neurosis is caused by the repressed pain of childhood trauma. His wife France had been a client for more than a decade, and Janov accompanied her to the salon one day. "He told me about a play he'd written 25 years ago based upon his book, T e Primal Scream," Ferro says. John Lennon and Yoko Ono famously went through primal therapy in 1970, the year the book was published. Actress Dyan Cannon and Apple founder Steve Jobs also practiced primal therapy. Janov shopped the play, which features music by acclaimed composer and producer David Foster, for years to no avail. Now, largely thanks to Ferro's eff orts to get it off the ground, Primal Scream: T e Musical is being taken seriously. With three new songs by Foster, the play premiered at the Smothers T eatre at Pepperdine University in Malibu on October 17. "It looks like a couple of producers in New York are interested in bringing it to Broadway," says Ferro, who received producer credit (her name's on the poster). Foster met Janov, who is 90 years old and according to Ferro has "more energy than people half his age," 25 years ago when he read a poem Janov had written for his wife. "I could make a song out of that," he told Janov. T e Colour of My Love was recorded by Celine Dion in 1995 with Foster producing. It not only sold 14 million copies, but Dion also used it as a track at her wedding. So did Foster when he married actress Linda T ompson. T e song is featured in Primal Scream: T e Musical along with 30 other compositions Foster wrote years ago and reworked. "When Arthur told me how badly he wanted to see the play produced, I went into action," says Ferro, whose clients include producers, studio heads and directors. T e fi rst thing she did was organize a table read at Janov's house in Malibu, even convincing longtime client, actress Katharine Ross, to take part. "T e play went through a lot of incarnations as the months passed," says Ferro, who stepped in to settle disputes or smooth ruffl ed feathers. It was also Ferro's idea to secure the Smothers T eatre at Pepperdine University for a single performance with proceeds benefi tting Arthur and France Janov's Primal Foundation for the continuation of brain research and to provide assistance to those who lack the resources to aff ord therapy. Because her work with celebrity clients like Olivia Newton-John was featured in Malibu Times Magazine, Ferro was able to convince them to promote the play. She was also able to facilitate an article in Angeleno Magazine because she'd met the editor at Cal a Vie, a luxury resort and retreat in San Diego, when she did makeovers there. Oh, and she invited all of her high-profi le clients, who bought tickets. "I was told by the people at Pepperdine that it's highly unusual to sell out a 500-seat theatre for a play that no one's ever heard of," says Ferro, yet that's precisely what she did. Never say never to a hairdresser; they'll prove you wrong every time. Never say never to a hairdresser; they'll prove you wrong every time.