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Published by: Robin on 29th Jul 2010 | View all blogs by Robin
Very exciting week; the composer I'm writing my musical with has sent me a rough version of one of the songs. Of course it's not perfect, music goes through drafts like any writing does, but it's pretty damn good! Perhaps most importantly it is not what I would have imagined, not what I would have written (if I could write music) which means that the finished article is going to be a genuine collaboration. Regular readers will know that I don't collaborate much. And people who know me can probably guess why. One of the main problems I have had with the musical so far is letting go of the reins, I'm just not used to sharing responsibility and my instinct is to plough ahead as if I'm the only one working on it. One way I have alleviated this is bt sending regular (roughly bi-weekly) updates to the composer so she can comment and so on. And that's just as well because I'm seriously re-editing the opening scenes. Two of them have bit the dust completely, one song has gone and the scene substantially changed. And the more I change at the start of course the more needas to change later on. It's a big job, this is my first real attempt at writing something historical and I think my primary instinct was to stick religiously to what happened when and include everything. My writing instincts are now kicking in and I am turning the events more into a story (without changing the fact s of course). It's also the first time I've written something serious for the stage, on screen or in a book you have so many more editing options, half the challenge on stage is to be able to keep events natural while being forced to work within a very limited number of scenes. I think I'm doing this better now than when i started, hence the major re-think but it's still tricky. Subtleties which I would montage my way through in a film need to be addressed with intelligence, and there are days when that just doesn't feel like an option I possess. At the moment it feels like the ideas are just pouring out of me, I could probably change every single scene, and for now that's a good thing. I'm not writing yet so I just note all the ideas in the structure and see how they play out. Which of course brings me back to my collaboration problem again because keeping track of all these changes must be a complete pain in the arse. In conclusion; I'm glad I don't have to work with me.

Comments

3 Comments

  • Weens
    by Weens 1 year ago
    You have written frequently about your musical, but have never told us what theme it is. What kind of musical is it, a 'show' type musical or more Andrew Lloyd Webber?
  • mike
    by mike 1 year ago
    Weens has got a message from me about the lack of 'English' musicals. Are you writing one of these? ' Oliver' is still doing quite well. I am not too sure whether Sir Andew Lloyd Webber does write English musicals? In my opinion they fall between two camps - American shows and European operetta. There isn't really much of an English tradition anyway. There have been some programmes on TV in which both Haydn and Mendelsshon are consideredEnglish! . Well!
    Of course there are things like 'Tommy' and a few others. 'Our House' but they don't seem to have staying power. 'Our House' only really had one song in it. I listened to an opera written by a member of the Pink Flloys
    Flloyd. It lacked tunes!
  • Robin
    by Robin 1 year ago
    I would say Lloyd Webber does write English musicals, or at least did, things like Cats and Joseph and Phantom (despite it being set in France). I'd also say that he writes 'show' musicals but I'm not really sure what the line is there. To be honest I'm not a massive fan of his (though I love Phantom). There does seem to be a lack of English musical theatre, even English set shows like Sweeney Todd are written by an American. That particular American, Stephen Sondheim, is probably my biggest influence for what I'm writing, particularly the show 'Company', which is more a play with a few well placed songs which always work in a narrative context. I guess my musical's English in that I'm Enlgish and so's the composer, it's set in Italy but it's historical and as any fan of Hollywod historical films knows, in the past people all over the world spoke with a British accent. We're not making the music Italian in flavour either.
    So yeah, I'd call it an English musical, I wouldn't call it a 'show' one cos that conjours up images of Oklahoma to me, but nor is it like Andrew Lloyd Webber. We're in an odd situation where I am a musical fan but have never written one, my composer has written a musical before but, oddly, is not a huge musical fan so does things very much her own way.
    If nothing else it is a learning process.
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