Musical Theater-Advice at ASCAP Workshop
By Anna Fay Williams
Each year, ASCAP and Disney sponsor a workshop for those who are hoping to write the next great Broadway musical. From the many submissions they select a few pieces to “workshop” and critique by a panel of notable Broadway writers, composers and producers.
For the hopefuls, a comment from any one of the panelists might open a door somewhere in the future. So their words are taken with a great deal of seriousness and rapt attention. And it is well worth such focus because the questions posed by these panelists are those writers should be asking themselves about their shows. For that reason, I have summarized comments and discussions from the ASCAP/Disney Musical Theatre Workshop from May 22-24 in New York City.
The Workshop Process
Stephen Schwartz, Wicked composer, heads the efforts and directs each of the productions during the three weeks before the workshop presentations. Other panelists participate with him in commenting on them. The May 22 panelists were Stephen Flaherty (Ragtime composer), and David Zippel (lyricist, City of Angels); May 23 panelists--Adam Epstein, (producer, Hairspray, Crucible, View from the Bridge, etc.) and Mark Hollmann (writer/composer, Urinetown), and May 24 panelists--Peter Schneider (producer, The Lion King while Walt Disney Studios chairman) and Craig Carnelia (lyricist, Sweet Smell of Success).
While our musical The Jury was submitted but not chosen, bookwriter Diana Howie and I were invited to the workshop presentations. Already in the Boston area, my husband and I caught the Chinatown bus and headed down to New York City. On the first night we were lucky to find a seat in the small room which held from 80-90 persons, partly on risers at the Arts Center, an old building on 43rd Street near Times Square. The readings were given with scripts on music stands and scores played on an old upright piano. All were 45 minutes in length and the full story lines were not always discussed.
The workshop is not about the production of the shows, which is minimal, but about the concepts--What motivated the writers/composers to write the musicals? How are the stories conceptualized with music and script? The effort in writing here is to present some of the advice, but not to provide specific comments about the musicals which afterall are still in development. It was an incredible experience (and undoubtedly daunting for the writers) to have these noted artists and producers at one table. It was also interesting to note the similarity in their “takes” on the new works.
The four musicals, mainly by students and artists from the New York City area, presented young women with dilemmas as their main characters and opening voices. In one case, an 18-year-old girl is caught up in the questions of sex, college and a friend’s death. In another, a ruthless teacher furthers her ambition by enticing three high school boys to kill her husband. A young pregnant girl hunts for her boyfriend in another show, but he has been whisked away under the influence of drugs by another singer. Suffering from the trauma of the 9/11 event, a first grade teacher has problems with her marriage and career.
The panelists praised the high levels of writing, both in the dialogue and the songs. Lyrics were often described as being “smart and clever” and even “adroit.” The musical styles varied but all were praised for their high level of professionalism. Schwartz noted the workshop this year surpassed many of the technical questions and problems about constructing musicals which had occupied previous workshops.
The Workshop Process
During the three weeks, Schwartz explained that there had been many rewrites so by the time of the presentations, not even he knew the results. Rewriting, Schwartz explained, “that’s what musical theater is all about.” When writing “Wicked,” he said they had nine readings and rewrote the script after every reading. However, he warned there can be some pitfalls in rewriting, especially when working alone. ” It is an incremental process that can lead you to places you didn’t intend to go. Without realizing it, you wind up somewhere else. “
This comment brought enthusiastic agreement on the value of collaborations. Several had worked together on projects. “Just discussing things with someone else is important,” said Schwartz. Carnelia said his work in previous years with one of the evening’s presenters had been a valuable learning experience.
Caring About the Characters
First, Flaherty commended those writing musicals—“one of the most difficult tasks in the world.” While complimentary, the panelists quickly reviewed their notes. Zippel discussed character development after the first show. He asked the question, “Why should we care about the main character?”
With every character, Carnelia observed “We want to feel with her, not just know what she’s feeling about.” He advised the writers to find ways to populate their songs with different colors. Another panelist remarked the answer to the question would provide the organizing principle for the structure.
The question about caring was often repeated during the three evenings. In one case, the panelists were concerned the main character was not yet well defined. In another, a panelist found a character both “alternately alluring and off-putting” and it was difficult to feel anything for her.
They conversed over whether one could care about an immoral character. Hollmann referenced the musical Sweeney Todd, “where you can’t like what the person is doing, but the moral part comes in thinking that this kind of persons can’t survive.” Schwartz added that if you pose important moral questions, he said you should answer them.
Musicalizing and Openings
Zippel recommended musicalizing events with a passionate response such as a mother/daughter argument in one show. Panelists often noted song opportunities had been missed. Their advice: “Don’t be afraid to let the characters sing.” Other comments dealt with the need for having consistency between what is sung and what is spoken by any character.
While one show had a rousing opening number, Schwartz warned against obscuring words in the opening with vocal counterpoint. Openings are very important, he explained. “They must be clear. Any information in the opening should also feed into the show later on. There must be a dramatic payoff.”
“It’s all about rules,” Schwartz frequently observed. “You must understand the rules. They are established in the opening of the musical. One of those rules deals with the expression of the songs by the characters.” For example, he said the first three to four songs in one show were about the settings, not about how the character felt. Then suddenly, he said the songs switched and the source of concern came from the character’s feelings. If a production opens with too many songs around the settings and atmosphere, Schwartz observed there is the chance of losing the audience’s interest.
Two types of songs were discussed by the panelists—those coming from the depths of the character and those describing events around them (atmospheric). Schwartz advised writers to ask: “Why am I telling this story?” “What type of song is it?” All agreed there must be some balance between the story being told and the atmosphere around them.
In discussing the musicalization of a script, Schwartz observed it is hard sometimes to grasp whether you have a musical or a play with music. He admitted that there is an uneasy balance between them. He offered several questions for the writers: “Why do the characters have to sing? “How do the songs get used?”
The Significance of Settings
In one case, they discussed how the year in the sixties had become a character in the show. While Carnelia observed the sixties had been a time of change he questioned how those interests could be handled. Other panelists were concerned the events would not in themselves be unique enough to capture audience interest. “Today,” Schwartz added, “you must make a show into event in itself. “
POV and Characters
The points of view were noted in one show where they felt the show began in the wife’s point of view but switched to that of the husband. In some cases, they cited the need for additional information or background on the characters to determine the motivations for their actions in a scene. Panelists asked questions like “What had made the relationship between the husband and wife so bad in the beginning of the show?”
Some Check Points for Composers
The panelists flagged several concerns musical development:
Songs should generally have a beginning, middle and ending. One panelist said he often looked for “socko” endings.
There should be consistency in musical style throughout the show.
The musical fabric must keep moving. Schwartz was emphatic. “A musical must keep moving forward or it will die. “
Two Questions for Any Show
In ending the workshop, Schwartz posed two questions for any musical:
For the creator-- Why did you write this?
For the viewer--Why pay $110 for a ticket or even $10?
His answers: “The writer must be telling a story but letting the audience know how he feels about it so that they can share his passion. The audience needs to know why they are seeing a show and why you needed to write it.”
As we were walking up 43rd Street toward Grand Central Station, we saw a notice about upcoming event honoring Stephen Schwartz for his contribution to musical theater. We should like to be among those lifting a toast to this dedicated individual for the time and his personal involvement into such as the ASCAP/Disney Workshop, a valuable event for new musical theater.
Each year, ASCAP and Disney sponsor a workshop for those who are hoping to write the next great Broadway musical. From the many submissions they select a few pieces to “workshop” and critique by a panel of notable Broadway writers, composers and producers.
For the hopefuls, a comment from any one of the panelists might open a door somewhere in the future. So their words are taken with a great deal of seriousness and rapt attention. And it is well worth such focus because the questions posed by these panelists are those writers should be asking themselves about their shows. For that reason, I have summarized comments and discussions from the ASCAP/Disney Musical Theatre Workshop from May 22-24 in New York City.
The Workshop Process
Stephen Schwartz, Wicked composer, heads the efforts and directs each of the productions during the three weeks before the workshop presentations. Other panelists participate with him in commenting on them. The May 22 panelists were Stephen Flaherty (Ragtime composer), and David Zippel (lyricist, City of Angels); May 23 panelists--Adam Epstein, (producer, Hairspray, Crucible, View from the Bridge, etc.) and Mark Hollmann (writer/composer, Urinetown), and May 24 panelists--Peter Schneider (producer, The Lion King while Walt Disney Studios chairman) and Craig Carnelia (lyricist, Sweet Smell of Success).
While our musical The Jury was submitted but not chosen, bookwriter Diana Howie and I were invited to the workshop presentations. Already in the Boston area, my husband and I caught the Chinatown bus and headed down to New York City. On the first night we were lucky to find a seat in the small room which held from 80-90 persons, partly on risers at the Arts Center, an old building on 43rd Street near Times Square. The readings were given with scripts on music stands and scores played on an old upright piano. All were 45 minutes in length and the full story lines were not always discussed.
The workshop is not about the production of the shows, which is minimal, but about the concepts--What motivated the writers/composers to write the musicals? How are the stories conceptualized with music and script? The effort in writing here is to present some of the advice, but not to provide specific comments about the musicals which afterall are still in development. It was an incredible experience (and undoubtedly daunting for the writers) to have these noted artists and producers at one table. It was also interesting to note the similarity in their “takes” on the new works.
The four musicals, mainly by students and artists from the New York City area, presented young women with dilemmas as their main characters and opening voices. In one case, an 18-year-old girl is caught up in the questions of sex, college and a friend’s death. In another, a ruthless teacher furthers her ambition by enticing three high school boys to kill her husband. A young pregnant girl hunts for her boyfriend in another show, but he has been whisked away under the influence of drugs by another singer. Suffering from the trauma of the 9/11 event, a first grade teacher has problems with her marriage and career.
The panelists praised the high levels of writing, both in the dialogue and the songs. Lyrics were often described as being “smart and clever” and even “adroit.” The musical styles varied but all were praised for their high level of professionalism. Schwartz noted the workshop this year surpassed many of the technical questions and problems about constructing musicals which had occupied previous workshops.
The Workshop Process
During the three weeks, Schwartz explained that there had been many rewrites so by the time of the presentations, not even he knew the results. Rewriting, Schwartz explained, “that’s what musical theater is all about.” When writing “Wicked,” he said they had nine readings and rewrote the script after every reading. However, he warned there can be some pitfalls in rewriting, especially when working alone. ” It is an incremental process that can lead you to places you didn’t intend to go. Without realizing it, you wind up somewhere else. “
This comment brought enthusiastic agreement on the value of collaborations. Several had worked together on projects. “Just discussing things with someone else is important,” said Schwartz. Carnelia said his work in previous years with one of the evening’s presenters had been a valuable learning experience.
Caring About the Characters
First, Flaherty commended those writing musicals—“one of the most difficult tasks in the world.” While complimentary, the panelists quickly reviewed their notes. Zippel discussed character development after the first show. He asked the question, “Why should we care about the main character?”
With every character, Carnelia observed “We want to feel with her, not just know what she’s feeling about.” He advised the writers to find ways to populate their songs with different colors. Another panelist remarked the answer to the question would provide the organizing principle for the structure.
The question about caring was often repeated during the three evenings. In one case, the panelists were concerned the main character was not yet well defined. In another, a panelist found a character both “alternately alluring and off-putting” and it was difficult to feel anything for her.
They conversed over whether one could care about an immoral character. Hollmann referenced the musical Sweeney Todd, “where you can’t like what the person is doing, but the moral part comes in thinking that this kind of persons can’t survive.” Schwartz added that if you pose important moral questions, he said you should answer them.
Musicalizing and Openings
Zippel recommended musicalizing events with a passionate response such as a mother/daughter argument in one show. Panelists often noted song opportunities had been missed. Their advice: “Don’t be afraid to let the characters sing.” Other comments dealt with the need for having consistency between what is sung and what is spoken by any character.
While one show had a rousing opening number, Schwartz warned against obscuring words in the opening with vocal counterpoint. Openings are very important, he explained. “They must be clear. Any information in the opening should also feed into the show later on. There must be a dramatic payoff.”
“It’s all about rules,” Schwartz frequently observed. “You must understand the rules. They are established in the opening of the musical. One of those rules deals with the expression of the songs by the characters.” For example, he said the first three to four songs in one show were about the settings, not about how the character felt. Then suddenly, he said the songs switched and the source of concern came from the character’s feelings. If a production opens with too many songs around the settings and atmosphere, Schwartz observed there is the chance of losing the audience’s interest.
Two types of songs were discussed by the panelists—those coming from the depths of the character and those describing events around them (atmospheric). Schwartz advised writers to ask: “Why am I telling this story?” “What type of song is it?” All agreed there must be some balance between the story being told and the atmosphere around them.
In discussing the musicalization of a script, Schwartz observed it is hard sometimes to grasp whether you have a musical or a play with music. He admitted that there is an uneasy balance between them. He offered several questions for the writers: “Why do the characters have to sing? “How do the songs get used?”
The Significance of Settings
In one case, they discussed how the year in the sixties had become a character in the show. While Carnelia observed the sixties had been a time of change he questioned how those interests could be handled. Other panelists were concerned the events would not in themselves be unique enough to capture audience interest. “Today,” Schwartz added, “you must make a show into event in itself. “
POV and Characters
The points of view were noted in one show where they felt the show began in the wife’s point of view but switched to that of the husband. In some cases, they cited the need for additional information or background on the characters to determine the motivations for their actions in a scene. Panelists asked questions like “What had made the relationship between the husband and wife so bad in the beginning of the show?”
Some Check Points for Composers
The panelists flagged several concerns musical development:
Songs should generally have a beginning, middle and ending. One panelist said he often looked for “socko” endings.
There should be consistency in musical style throughout the show.
The musical fabric must keep moving. Schwartz was emphatic. “A musical must keep moving forward or it will die. “
Two Questions for Any Show
In ending the workshop, Schwartz posed two questions for any musical:
For the creator-- Why did you write this?
For the viewer--Why pay $110 for a ticket or even $10?
His answers: “The writer must be telling a story but letting the audience know how he feels about it so that they can share his passion. The audience needs to know why they are seeing a show and why you needed to write it.”
As we were walking up 43rd Street toward Grand Central Station, we saw a notice about upcoming event honoring Stephen Schwartz for his contribution to musical theater. We should like to be among those lifting a toast to this dedicated individual for the time and his personal involvement into such as the ASCAP/Disney Workshop, a valuable event for new musical theater.
posted by Anna Williams at 11:28 AM
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