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.
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?
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
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.
I had originally heard of Michael when I saw a song from his largely autobiographical musical A Strange Loop performed as part of William Finn’sRidiculously Talented Composers and Lyricists You’ve Probably Never Heard of But Should cabaret at 54 Below. (Well – truth be told I think I originally originally heard of him when the pop-star Michael Jackson died, and he was forced to distinguish himself on Facebook as Michael “Living” Jackson, but that’s neither here nor there.)
I then got to meet him as we were both participants of the Johnny Mercer Writers Colony at the Goodspeed Musical Theatre this past January. There I got to see more of his work on the show come to life.
The Tony Awards always leave me inspired. I didn’t get to watch this years broadcast, but even just seeing the names of nominees and winners that are close to my heart fuels me to keep pushing ahead in this crazy business of show.
I’m especially inspired by the win of FUN HOME – a story we’ve never seen before on the musical stage – as it further widens the breadth of what stories a musical can tell. As it has for centuries, the theatre continues to have the power to give voice to all sorts of populations whose stories deserve to be told.
That’s why I’m so excited to premiere some brand new songs from JOE SHMOE SAVES THE WORLD as part of The Festival of New American Musical’s Musi-CAL series, celebrating new musicals written by SoCal writers.
Come have a bite to eat and support new musical theatre performed by my incredible cast featuring Jonah Hill (American Idiot, Hair at the Hollywood Bowl), Alex Wyse (Masters of Sex, Broadway’s Lysistrata Jones), Ashley Argota (The Fosters), and Nicole Farnoush, as well as Kat Hennessey, Chris Meissner, Lyle Mackston, and Holly Howell.
It’s a difficult thing to balance two “careers” at once. For me, acting has always taken precedence because it’s my “bread-and-butter,” which I say while making a very ironic face.
But I love writing with the same passion as I love acting, so I can’t just do one and not the other. It just means I’ve had to accept that sometimes the writing is just gonna take longer. A looooot longer.
But this week I was able to finish the first draft of my musical Joe Shmoe Saves the World. Which thrills me to itty bitty little pieces.
Granted – it’s incomplete. That’s right. It’s an incomplete first draft. But it’s cohesive! And now that the first draft is written it means that the rewriting can begin. And so the cycle never ends.
Here’s a paragraph I’m particularly proud of. This comes from my own personal inspiration for writing this piece: