I saw a couple new plays over the last few weeks, and it got me thinking about structure.
There seems to be a trend with young playwrights that rejects the “restraints” of traditional structure. With nothing worthwhile to replace it, however, rejecting traditional structure feels like a rejection of any structure at all. The resulting play feels like a meditation on a theme at best and a plot with no climax or catharsis at worst.
For the longest time there was a wall I couldn’t surpass as an actor. I didn’t know how to be fully emotionally vulnerable in my work. Every now and then I would hit on something and it would surprise me. I couldn’t get back there, and I didn’t understand why.
A few months ago, I saw a play that featured a word that I thought I understood, but realized I didn’t truly understand. The word was shame. I thought I had a sense of what shame was, and I had a feeling about its pervasiveness in our society, but it was a vague sense and a vague feeling.
What is it that makes the “Best Original Song” for a motion picture?
This year is a particularly fascinating year for Best Song.
There appears to be a clear front runner in La La Land, nominated for the maximum two songs – “Audition” and “City of Stars.” Being a “movie musical” (yes, in quotations) the songs function in a very clear and direct way, allowing their effectiveness and RTDW to be more objectively quantifiable. With two nominations, however, it runs the risk of cancelling itself out.
Furthermore, historically the academy has chosen songs by famous pop artists, which gives an edge to Justin Timberlake and Sting. Although THIS year, with the massive pop appeal of Hamilton, the prize could go to Lin-Manuel Miranda. So it’s really up in the air.
There is always going to be a large amount of subjectivity when evaluating a creative endeavor. Ideally, the law of averages works it out so that the opinions of an educated sample reflect the opinions of the educated majority.
Remember, though, that while the nominations are made by Academy members who are songwriters and composers, the winners are decided by the membership as a whole. (So beware Lin Manuel Miranda – the deciding vote may come down to a tone-deaf cinematographer.)
I’ve always thought that songs in motion pictures are a difficult thing to judge, and precisely because of that they are almost always a difficult award to predict. Add to that the bizarre and ever-changing rules which govern the nominations of songs, which results in years where only two songs (???) are even nominated.
I’ve been thinking a lot recently about the greater purpose of musical theatre. It’s been said that if you want to make a billion dollars you simply help a billion people. Now, who doesn’t want to make a billion dollars (especially if you’re an artist)? But the question then becomes how do you help a billion people?
The only way to have a lot of really great ideas is to have a lot MORE really bad ideas.
The good news is having bad ideas is really easy! I have bad ideas all the time. They flicker into my head all day long, usually disguised as a good idea. Then after I spend a little more time with them, their true identity as bad ideas reveals itself, and they gets discarded.
But every now and then a really great idea flickers into my head disguised as a really bad idea. You just have to get through the bad ones first.
There’s a certain pessimism that allows you to be blasé about not receiving the grants/awards you apply for as a writer. It’s the pessimism that says, “Chances are I won’t win this, but I’ll try anyway.” Then when you aren’t selected you can say to yourself, “See, I thought so.” Or if you are, you can be pleasantly and genuinely surprised/honored.
Often I find I can learn a lot from people who receive grants/awards for which I also applied. It introduces me to a new type of work or a new way of thinking. It gives me inspiration to see other peers finally receive due attention. It forces me to pay attention to what people are responding to and strive for greatness in my own work.
Consistent writing with consistent quality requires consistent habit. There are always a lot of variables when you’re writing something new – new characters, new circumstances, new voices, new points of view. Given that there will always be lots of new unknowns, when it comes to your process you don’t want to have to always be reinventing the wheel.
When I’m writing a new song for a musical, I start by asking myself a series of questions. The order of the series is not important, and I will usually stop at whichever point I feel I’ve answered enough to begin writing the song. (I am taking for granted that at this point I’ve created a musical language for the world of the piece as well as the individual characters.)
1. What is the EVENT of the scene/moment? This is often but not always coupled with the second question on the list (What is the conflict of the scene/moment?) This question allows me to identify what the major dramatic event is. The story in a musical is communicated and moves forward via song, therefore Continue reading How to Write a Song for the Musical Theatre
The term isn’t mine, but the problem is one that lots of writers fall into. The Donut Problem describes what happens when your main character is nowhere near as interesting or as active as all the characters that surround her.
About a year ago now, I wrote an article on my blog called Race and the New Generation of Musical Theatre Writers. In the article, I called out to my white colleagues to ‘stretch’ their worldview to a point where they were able to see that our communities are not just populated by white people; to step outside of our unconscious biases and take an active part in truly ‘holding up the mirror.’
There are people in your phone and they have something they’d like to sing to you.
That’s right – all those emojis you use to embellish or simplify your texts are people, too, and now there’s a brand new musical in the works about them. Yes, even the pile of poo.
Thankfully, their songs have music and lyrics by Keith Harrison and a book by Keith and Laura Harrison. (Yes, they’re married. And yes they’re adorable.)
A couple weeks ago I had the pleasure of hosting an event called Musi-CAL. Presented by the Festival of New American Musicals, Musi-CAL is a bimonthly concert series featuring material from new and in-progress musicals written by Southern Californian composers, lyricists, and bookwriters.
The final presentation was Keith and Laura’s show, Emojiland. I can’t even describe the energy that filled the room with each song they presented. Everyone in attendance was blown away by the quality and production-value of their work. It was simply stellar.