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Judging by the two controversial books already under his belt, and now with a third just released, it may fairly be said that David E. Wienir is eager to doff his lawyerly reserve in the cause of his various concerns. “It’s important for young attorneys not to strip themselves of their passions,” said Wienir, 31, a fourth-year entertainment law associate at Coudert Brothers. “You can’t be happy without passion.” After tackling the British Labour Party and California’s controversial attempt to halt affirmative action in state campus admissions, Wienir’s latest affair is “Making It On Broadway: Actors’ Tales of Climbing to the Top.” In the new book, he and co-author Jodie Langel, a veteran of the musical stage who had long-running stints in “Cats” and “Les Miserables,” combine trenchant observation with the mini-memoirs of 154 actors of the Great White Way. The result is a tender-hearted indictment of Broadway’s slide into philistinism. “Broadway is now a great big mall, and each theater competes as if it were a Gap or a Sam Goody,” wrote Jason Alexander in a foreword to the book. The stage performer best known as George in the sit-com “Seinfeld” added, “Everything is automated and computerized. Actors who come … with only their dreams are in for harsh awakenings. And so, too, the audience.” As they plotted their literary project in a Montreal caf�, Wienir and Langel — “Our relationship,” said the attorney of the actress, “is without category” — profound discontent was not foreseen as the common ground of their interviewees, a third of whom are Tony Award winners. But as the editorial process waxed on, said Wienir, “Performers simply responded to the way they’ve been marginalized by the industry. They’re stripped of artistic license; they’re jaded and bitter.” Rancor, legitimate as it may be, is not ordinarily found in the celebratory genre of theater books. “Traditional publishers didn’t want to touch this,” said Wienir, who eventually hooked up with former attorney Tad Crawford, founder of Allworth Press of New York. Wienir considers the published outcome helpful to his practice. “It’s really important to know what my [Broadway] clients are going through,” he said. “That way, I’m not just a lawyer, I’m a part of the community.” Advance readers confirm Wienir’s bona fides as a trouper. “The actors in this book tell it like it is,” said Arthur Bartow, a professor at New York University’s Tisch School of the Arts. “They destroy the myths and inject the truth.” Leon Katz, emeritus professor at the Yale School of Drama, called Weinir’s collection of interviews “hilarious, grim, rueful, resigned, even forgiving … inspiring and transparently honest.” Wienir, a graduate of the University of California, Berkeley’s Boalt Hall School of Law, has used the same interview/commentary formula in two previous high-profile books: “Last Time: Labour’s Lessons from the Sixties,” released by Bellew Publishing of London and co-authored with Austin Mitchell, about past excesses of the British Labour Party; and “The Diversity Hoax: Law Students’ Report from Berkeley,” a survey of law students admitted to Boalt Hall in the caustic political atmosphere of 1997, when Californians adopted Proposition 209 to eliminate affirmative action programs on state campuses. “I get this question all the time — ‘How’d you have time to write a book?’” said Wienir. “To me, it’s a strange question because I think it’s so important for lawyers to sustain other interests. “My books don’t get done overnight,” he said. “It’s amazing what you can do if you give yourself one or two hours a week for something other than the law.”

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