I really appreciated Katelynn Johnson’s recent article, “A Call For More Film Recordings of Broadway Shows”.

In point of fact, it’s something I’ve been working on with my partners for the last two years. It’s something I’m very passionate about. I absolutely believe that my partners and I are on the verge of discovering a new way to watch and develop musicals.

I come at this perspective as both a writer of musicals and also as a consumer. And this new idea appeals to me on both levels.

As someone who’s been lucky enough to work on Broadway and in some of the best regional theaters in the country, I am extremely grateful for live theatre. I’m grateful for the actors, the artists and the musicians I’ve worked with over the years who have put so much love and labor into their art. But I’ve also seen our work essentially disappear when a show is over and I’ve seen artists struggle. Not to mention, the cost of developing new work for artists like me, and others, can be challenging.

But in 2015, when Ken Davenport innovatively decided to live-stream my Off-Broadway musical, DADDY LONG LEGS, (co-written and directed by John Caird) the show received 150,000 streams from 65 different countries around the world in one night; A show without stars and barely any title recognition. I knew that night that what I watched was the future.

My dream of the future essentially came true this past February. My new company filmed my musical, EMMA, at the Westside Theatre in New York. Not as a live musical; not as a film; but, as a hybrid between the two. Something new. Live singing. No audience. We had a crew that used 3HD cameras that can go anywhere, a film director and a stage director. This is the first original stage musical created to be streamed worldwide. And the fact that I will be able to share this with you – wherever you are in the world – is absolutely thrilling to me.

We are going to be an equitable company and one of the main elements about this new model that’s so important to me is the profit-sharing aspect. Because, even though Daddy Long Legs was free, that’s not how we keep moving more musicals into the world. But for a price as low as a latte, all the artists – directors, writers, designers, actors, musicians on EMMA –share in the profits, forever. It also allows us to keep production costs low but production value high. So a show that might have run 3 weeks in a regional market and never appear again, can now run forever all over the world. With the intent of launching live productions for theaters anywhere, this is a win/win for everyone.

Like Katelynn in her article, I grew up with the desire to put live theatre in my pocket and take it out later at home and watch it again and again. (I TiVo’d LIGHT IN THE PIAZZA Live at Lincoln Center and watched it 11 times. Then the machine broke. Crap. I’ll never see that production again).

My hope is that EMMA is just the first step into the future of streaming musicals. And we need you to be our eyes and ears. You are going to be so helpful in this process and we can’t wait for you to tell us what you think. It’s like a workshop for exciting things to come and you’re a huge part of that.

Thanks for supporting musicals. And nerds who like musicals. And just TheatreNerds in general.

~Paul Gordon

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I’ve rarely ever come into contact with someone who didn’t have an idea for a musical. Everyone wants to write one or be in one or just be on the team. I read nearly every day about musicals that are being made based on beloved films, truly mediocre films or films amazingly inappropriate for a musical. However, ideas for musicals are not just confined to movies, plays and books. They come from board games, TV shows, rides at theme parks — anything. It’s “What I Had for Breakfast Today: The Musical.”

It seems no subject matter is off-limits when it comes to making a musical. However, it takes more than an idea to create something onstage that will capture and hold an audience’s attention and make them feel, or laugh or hate you.

Today, I will touch on the necessary steps (in my humble opinion) that it takes to create a musical your audience hopefully won’t hate you for.

Step 1: Source Material

Nothing is more important than the story you are telling. Whether it’s an idea out of your own head or based on already existing source material, this is the foundation of your show. Source material can be a novel, play, film or even a TV show — I’m sure someone is creating “Mr. Ed: The Musical” right now. If you’re too young to remember “Mr. Ed,” it was a sitcom in the ‘60s about a talking horse, and yes, someone somewhere thinks this is a good idea for a musical.

But still, even the worst idea imaginable will be a good idea to someone. And that’s the real point: All art is subjective. So, even if you really are planning to obtain the musical rights to “Mr. Ed,” you still have a shot at making it a good show if you do everything else right. It’s a very, very small shot, but a shot nonetheless.

The story you choose for your show is the story you will be living with for the next many years, if things go well, so it should be a story you love. It should involve characters you love (or hate for all the right reasons) and want to spend time with. It doesn’t matter whether you have a profound message to share with the world or if you just want to make people laugh and have a good time. That’s up to you. Just know that the story is everything. If you don’t have the story, you have nothing. It’s the foundation on which you will build everything else. If your foundation is shaky, your musical will be shaky. Make sure you get this part right.

Caution: I know the trend is to try to musicalize all the movies we love, and I believe film is a very valid choice for source material for musicals. But be careful. First, you’re going to have to acquire the film rights, and that takes lawyers and money. Unless you’re extremely well-connected, I do not suggest it. If you don’t have an original idea, I suggest taking a novel or play in the public domain and using that as your story. You can update it so that it feels more contemporary. Any novel or play 75 years after the death of the author is in the public domain, and you don’t need permission to adapt, sabotage or plagiarize the works of your favorite dead author.

I’ve adapted several works in the public domain. I started with “Jane Eyre.” I literally had no idea what I was doing. I read the novel, highlighted the parts I thought I should include and then just started writing the book and score. Amazingly, 10 years later, the show would go to Broadway (after 7 million rewrites, countless readings and out-of-town tryouts). Oh, did I mention writing musicals is all about rewriting them? We’ll get to that later.

Tip: Don’t try to guess what the audience wants. No one knows. It’s all a crapshoot. Yes, if you have Hugh Jackman starring in your show, you probably could do “Mr. Ed: The Musical” and it would kill. But we don’t all have Hugh on speed dial, so you’re better off choosing a story you love, whether it’s an original idea from your very own brain or based on previously existing material. If you have your foundation, you’re ready for the next steps.

One more thought: Here’s a very crucial question to always ask yourself when looking at source material:  Do these characters sing? Look, I’m very opinionated. Personally, I don’t think Spider-Man sings. Maybe that’s just me (apparently it wasn’t just me). Some characters sing, and some don’t. How do we know? I’m not sure. To me, it’s intrinsic. I just know. I’m hearing about a musical being developed by Broadway producers right now that has characters I know shouldn’t sing. But often, Broadway is more interested in a brand than what makes a good musical. That’s why the world needs us. Notice how I’ve included all of you without knowing you — it’s my way.

Step 2: Who’s Writing This Thing?

The next most important step is deciding who your writing team is, and more specifically, what your role is.

Are you a musician? Are you a playwright? Are you someone who likes to eat ice cream and watch a lot of TV? (Don’t underestimate TV watching. We are in the Golden Age of TV, and you can learn a lot about dramatic structure. Also, it’s a little known fact that ice cream is essential to writing musicals.)

When I write a show, I write everything (at least in the first draft), including the book, music and lyrics. My background is in songwriting, so naturally, writing the score comes easiest to me. But even though I had very little experience writing the libretto to a musical, I decided to do it all myself for “Jane Eyre,” since at that time, I had no writing partner. This was done with the understanding that eventually, I would bring in a book writer. I did, but I had no idea it would be the director of “Les Misérables.” Holy shit.

This improved my skill at writing librettos. Though I did not end up writing the book for “Jane Eyre,” I did write the librettos for several of my other shows, including “Emma” and “Sense and Sensibility.” Working with John Caird was an education in creating musicals. I was very fortunate to have had that experience. But it started with my commitment to do it all myself. Just try to get the work out there so that it could be heard — eventually by John.

Tip: Figure out what you do. If you like to write music but you don’t feel you are strong with lyrics, collaborate with a lyricist. If you are the book writer and you think you can write lyrics, go for it! Do whatever it is you want to do, and find out whether you’re good at it. If not, so what? The biggest tip I can give anyone is this: Don’t be afraid to suck. We all have to start somewhere. And sucking is a reasonable place to begin. We’re here to grow and learn, and there’s no better way to learn than by doing. That’s what worked for me.

Step 3: How Do I Start Writing?

You still haven’t watched Season 3 of “Game of Thrones.” It’s a beautiful day outside, and if you had a dog, he would need to be walked right now. Your boss needs you for an extra shift, and working at Starbucks is sucking out your soul and all your creative juices.

Look, there’s no easy way to say this: Writing is hard. But getting started is harder. So do whatever it takes. Set a time of day where you have time to write and make sure you sit there. Even if nothing happens, it’s okay.

I read once that Paul Simon, one of my favorite songwriters, goes to work from “9–5” every day and just writes, whether he’s inspired or not. I thought that was pretty cool. So, find a system that works for you and stick with it. This game is all about self-discipline. Most of my work is not commissioned, and if I don’t force myself to write, I’m not going to have a career. If you can self-motivate, you are golden.

When adapting from a novel, I would strongly suggest reading the novel before you start to write your musical. I know this seems stupidly obvious, but believe me, I had to force myself to not start writing songs for “Jane Eyre” before I finished reading the book (that fucker took three weeks to read. So many pages). But I was so inspired by the early chapters that I was just bursting to start writing. But of course, that would be stupid. I didn’t know the story yet. I didn’t know the arc of the story. How would I know which bits to include and which bits to leave out? This is the key when adapting a novel — they’re long. When we did our first production of “Jane Eyre,” we basically performed the whole novel onstage. We were so true to the book, we didn’t leave anything out. The show was over three hours long.

Tip: When adapting a novel, the most important decision you can make is what to include and what not to include. With “Sense and Sensibility,” I wasn’t keen on telling the stories of the mother and the youngest Dashwood sister because I felt they were unnecessary to the plot. So, I killed them off, and it worked like a charm. In “Emma,” I got rid of Emma’s sister and brother-in-law. They bored me, so I left them out. The decision is all yours. These works are in the public domain, and you can do anything you want. However, if there really is an afterlife, I have an uncomfortable feeling that Charlotte Brontë, Jane Austen, Oscar Wilde and Charles Dickens are going to kick the shit out of me.

I find that plays are the easiest to adapt to musicals. If you’re working with a good playwright, he or she has already done a lot of the heavy lifting already. Honestly, I would much rather adapt a play than a novel. With a play, I can focus entirely on the score because the story is already mapped out. Chances are, I’m just “musicalizing” the sections of the play I want sung instead of spoken. I am currently adapting the play “Reflections of a Rock Lobster” by Burgess Clarke. It’s based on the true story of two boys who wanted to go to the high school senior prom together in Rhode Island in 1980. After they were turned down by the high school principal, they sued the school and won. The play has so much pathos and heart, and it’s been a dream to take Burgess’ words and make them sing. I love putting myself in the heads of the characters and trying to find new ways to express different emotions. There is a tremendous joy and satisfaction in working with truly smart writers who push you to do your very best work. It doesn’t always happen, but if you have the rights to a great play, it’s a good place to start.

Making a musical based on an original story is the trickiest. When I am adapting Jane Austen novels, at least I know that my story is solid and has worked for almost 200 years. Almost no one is going to leave the theatre saying, “Weak story.” But with an original piece, you have your work cut out for you. Musicals are hard to get right to begin with, but original musicals are even harder. So if you do have an idea you love, then tell your story. Sing your story. Be original. Figure it out as you go.

Be sure to map your story out completely before you start writing songs. One of the biggest mistakes I constantly make is writing music before the idea has settled. Of course, writing the songs can often help expand the idea — and may help in discovering new places to go — but it’s generally a far better idea to have your story completely worked out and a good working draft of the script before you begin writing the score.

Step 4: Where Do the Songs Go?

I play the game “Where’s Waldo?” when I’m working on a new musical (though honestly, I don’t know who Waldo is). Discovering what should be musicalized and what shouldn’t be is the key to writing a good musical.

When I first started working on “Emma,” I came to a place in the novel where Mr. Elton sends Emma and Harriet riddles, which Emma thinks provides clues about his romantic interest in Harriet (when he’s really interested in Emma). I saw many opportunities in this moment to write a great comic song for the three characters. It would have worked wonderfully, and the audience would have eaten it up. But I never wrote the song because it would not have moved the story forward. It wouldn’t have given the audience more insight into the characters. And we find out the same information later in another way. So the best decision I ever made was to not write that song.

“But if the song would have been as great as you say, wouldn’t it have helped the show anyway?”

No. Though it would be an audience pleaser in the moment, it would have made the first act five minutes longer. And then later, there’s a “double beat” in storytelling, which would have taken the air out of later scenes because things are feeling long when they didn’t have to. Everything is finely stitched together in a musical, and pulling one thread can change everything. That’s why musicals are workshopped so much. They are really complicated things to write, because there are so many parts of the puzzle. We never know how it will turn out until we’re up in front of an audience, where we find out everything immediately and it’s often very scary.

Step 5: I’ve Written the First Draft. Now What?

That’s so amazing! And you haven’t even finished this article yet! Bravo to you.

Okay, so you’ve written a first draft. That means you have a book and a score. That is amazing. Seriously, your first musical could be terrible, but you have a first draft and you should absolutely celebrate. Why? Because musicals are hard to write — even bad ones. And you finished something, which is big, especially since musicals take a ton of work. You’ll be rewriting this for the rest of your life, but you have a finished draft and that’s fantastic.

Here’s what’s really great about where you are now. Rewriting is everything. Rewriting is where most of the magic happens. Look at it this way — you are no longer staring at a blank page, which I’ve come to believe is one of the evils of the universe. But now you’re looking at a page that has actual words, and that’s good! You’ll be rewriting those words soon enough, but it’s all part of the ongoing process. You’re in good shape. Just back away from the TV and put down the ice cream.

Caution: Are you really done with that first draft? How is the structure? Don’t worry if it’s too long — it should be too long at first. It doesn’t have to be perfect in your mind yet, but just make sure you are mostly satisfied with this as a first draft. Then, go treat yourself. You deserve it.

Step 6: I’m Ready for My First Reading — I Think

Not only have you finished your first draft, but you’re so happy with yourself that you want all your friends to hear it. So you plan your first reading.

What’s a reading? In New York, we have what’s called a “29-hour reading.” This allows the creative team to work with a group of actors and present the material for either a small or large group of friends, family and industry peeps. You actually have about 26 hours or so to “rehearse,” and the other three hours is the actual reading itself.

However, before you put a reading together, you have to put a creative team together. You already have your writing team, whether it’s just you or you and one or two others. But now you need a director.

This is a big deal. You know how I said that the source material was a big deal? This is the next big deal. Your director will not only guide you through the production, but a good director will also be your dramaturge. A dramaturge is someone who really understands storytelling and will help guide you into making your story as clear as possible — and will lovingly inform you when you are writing something that is total crap. So, choose your director wisely. They are your new creative partner, and they run the show — literally. This needs to be one of your wisest decisions.

Sidebar: When John Caird heard my first demo of “Jane Eyre,” he was in Los Angeles directing “Les Misérables” and wanted to meet. I went to the house he was renting in Westwood. We sat in his backyard as he went through my script with a red pencil, correcting my spelling and occasionally muttering things like, “This isn’t 19th century,” and “This is American, not British.” I felt like an idiot, yet he still somehow asked if he could direct my musical. Yet to this day, I don’t know why the hell I didn’t just use spell check.

“Okay, so I have my director. Do I need anything else?”

I’m so glad you asked that. Yes. You need your next important creative partner: your music director. We call them the MD. (It’s really fun to call them MDs around your parents. It confuses them endlessly.)

Your MD will be the guardian of your score. They will make all the necessary notations and changes, keep the singers happy and make the composer’s’ life much easier.

Sidebar: I’m a college dropout, and though I studied music, I don’t read music well. I deeply rely on my music director to be my conduit to the singers. Other composers, such as Jason Robert Brown, are brilliant musicians. They read and play extremely well and can do everything themselves, though they will still rely on great music directors to make their jobs easier.

I’m hopeless when it comes to reading my own scores, and I deeply depend on my music directors to save me and make me look good. They are an integral part of my work, and I’m grateful to all of them for validating my reason to drop out of college.

“Okay. Is that it? Do I need anyone else?”

Yes. You need a casting director, stage manager and someone to transcribe your score into Finale, if you’re anything like me.

Doing a reading of your musical is absolutely necessary for the development of your show. It will be the first time you hear the piece out loud, and it will inform you of the work you still have to do. People are generally not going to laugh if it’s not funny. Listen to how loud or soft the applause is after a given song. Hear when people start to cough during scenes or songs, since this is usually a sign of boredom.

Nothing whips your show into shape like a few good readings and hearing how an audience responds.

Tip: Be sure to cast your show well. One of the issues we always face when casting actors is whether to cast an actor who sings or a singer who acts.

The short answer? Find both. Yet in my opinion, Broadway-caliber performers are a unique breed. There is literally no one else in the world who can do what they do. To act brilliantly and sing brilliantly is a rare thing to find in one person (and we’re not even talking dancing). Often, an actor will audition for me and be a great singer, but their reading is weak. Or the opposite will happen — they embody the character perfectly, but their voice just isn’t quite up to it.

That’s why performers who both sing and act brilliantly are rare. I would argue that many celebrity performers on Broadway would not even be considered if not for their fame. And I mean that with no disrespect. It’s not like they don’t act and sing well — they do. But those who can take it to the next level — say a Sutton Foster or Brian D’arcy James — are the performers who make theatre magical. They are special, and no one can do what they do.

Step 7: That Went Well! What Happens Now?

Congratulations! You’ve just done a reading of your musical, and all your friends told you they absolutely loved it.

Caution: Not all of them really loved it. Some of them are just saying that because they don’t know what else to say. Also, some of your friends who “loved it” also loved Cheetos lip balm, celery jello and the McLobster (actually, the McLobster does sound sort of interesting).

However, let’s just say you got through this reading fairly unscathed and you’re ready for the next steps. If you have a proper team in place, your next step is to rewrite. Your director and/or dramaturge (or producer, or annoying neighbor) will inform you of what they think you need to change.

Tip: Everyone will have an opinion about what is wrong with your musical. Your mom. That weird dude at the grocery store. Ben Brantley (though his opinion will come when it’s much, much too late). The best advice I can give is to take everything in, weigh it and see what resonates for you. Somebody really will hate your work. But that doesn’t mean your work is bad. They just may not have the same taste as you.

Sidebar: One of the most frustrating moments in the evolution of “Jane Eyre”came right after our La Jolla Playhouse production. There was a negative review in a local publication called the LA Weekly. It’s not a major newspaper, but it was one I’d grown up reading. The first line of the review said, “I hate musicals,” and it went downhill from there. I’ll never forget that. I was furious, thinking, “Why the hell are you reviewing my musical that I’ve been passionately working on for the past 10 years if you hate musicals?” Clearly I have anger issues. But the point is, I should never have cared a whit what this guy thought. He didn’t like the medium I was working in. And that’s the point. You have to be confident enough in your own taste and sensibility so that inevitably, when someone of note says your work is crap, you don’t have to necessarily believe them. Unless your work really is crap. Then I’m afraid they have a point.

Sidebar: Opening night of “Jane Eyre,” John told the creative team and cast not to read the reviews. He said if you believe the reviews that tell you you’re a genius, you have to believe the ones that say you suck. It’s true.

So, once you’ve sifted through the critiques, the praise and the apathy — and you’ve done your rewrite — you’re on your way to creating your first full production.

“Okay. So how do I do that?”

That’s a long story, and we’ll cover that next time. But thanks for taking a moment to read my overly opinionated thoughts. I love musicals, and I’ve learned so much through this process. It’s a pleasure to be able to share my experiences with this community.

I hope in the future I can guide a few of you on your own musical journeys. Good luck, and remember: If you’re afraid to suck, then don’t even bother~

Learn more about Paul Gordon and his projects here: www.paulgordonmusic.com

The post So You Want To Write A Musical? 7 Steps To Getting Started appeared first on Theatre Nerds.

1. ‘Bye Bye Birdie’

This was my first theatre experience, and for a very long time I was convinced that 8th graders were the best actors.

This first one isn’t so much how it transformed the way I write musicals, it’s more like – what the hell is a musical? I was in the 5th grade and we were watching the 8th grade performance of Bye Bye Birdie and it blew my little 5th grade mind. People on stage singing. I’d never seen such a thing. “The Telephone Song” was a magical moment in my young life (and till this day remains a favorite song of mine, though the show itself, not so much).

Lesson: Musicals are cool.

2. ‘Godspell’

I think I was about 17 when I saw my first production of Godspell. This was the first professional production of a musical I’d ever seen and it was the perfect show for me to take in. I’d grown up with pop music and the rock score was easy for me to assimilate. I loved the humor, the silliness, the nonlinear story line and the counterculture feel of the show. I was already writing songs at this point in my life and this production gave me the bug to write musicals. I still love this show and Stephen’s score.

Lesson: Musicals can have rock music and they can be fun.

3. ‘A Little Night Music’

I remember one day asking my high school friend, Debbie Gravette (who’d win a Best Supporting Actress Tony for Jerome Robbins on Broadway just a few years later) who the new composers were writing musicals these days? I had been soaking up the scores to the classics, but living in Los Angeles didn’t give me any insight into what was going on in contemporary New York theatre.  I didn’t even know there was contemporary New York theatre. Debbie told me that Leonard Bernstein’s lyricist on West Side Story had a new show called A Little Night Music and it was really good. The guy’s name was “Stephen  Sondheim.” I was skeptical but curious. I wasn’t convinced a lyricist was going to be much of a composer. I purchased the LP the next day to hear for myself (yes, we still had LP’s). Needless to say my life changed forever. From the first downbeat to it’s glorious last note, A Little Night Music quickly became my favorite score of all time. It was smart. I’d never heard anything like it. When the touring company of the show came to LA I had an opportunity to finally see Hal Prince’s production for myself.  I saw it ELEVEN TIMES  (I would have gone back several more times but the touring company, sadly, had other cities to go to). The experience was so powerful for me I literally couldn’t get enough of it.*

*Side bar: Very late in the run of JANE EYRE on Broadway in 2000, a young man approached me after the show and told me he had seen my show 53 times. I was not shocked. I knew the feeling.

This show is a master class taught by the theater’s greatest genius. I personally believe that librettist, Hugh Wheeler, was Sondheim’s strongest book writer and both this show and Sweeney Todd, stand out to me as his very best musicals.

For anyone interested in writing musicals, I would suggest studying this show. The elegance and efficiency of the book. The brilliant score that captures each character’s irony and pathos as only Mr. Sondheim can…and the music is simply magnificent.

When I wrote my musical Emma, based on the Jane Austen novel, I paid keen attention to A Little Night Music. Its use of reprises and how the score weaves in and out of the dialogue so that you hardly know when one stops and the other begins. Just a truly perfect musical in every way for me.

Lesson: This musical taught me HOW to write musicals.

4. ‘A Chorus Line’

A few years later I went back to the Schubert Theater in LA and saw A Chorus Line. God help me, I’d never seen anything like it. This show knocked me out in a completely different way than A Little Night Music. A Chorus Line continued my education in musical theatre. Here was a show about an audition with people standing on stage talking about themselves and the only through line was they really hope they got it. And that was all they needed. That and Michael Bennett and Marvin Hamlish.

Unlike A Little Night Music, seeing a A Chorus Line, did not inspire me. It depressed me. My ego was convinced I would never come close to writing a show like this. (Sorta true, I never did, only I’m not actually depressed about it. Oh, if only I could talk to young me.) Every aspect of the production blew me completely away. Though the show is slightly dated now (very much a musical of its time), its impact on all of us will be felt forever. Definitely a life changing event for me.

Lesson: I suck, I can’t do this (but I would eventually recover).

5. ‘Sweeney Todd’

On my first trip to New York I had the great fortune to see the original Broadway production of Sweeney Todd. I actually feel very lucky to say that Sweeney Todd was my “first.”  And I can truthfully say that I have never seen a better musical since. Maybe a few as good or nearly. But this show is a masterpiece. In every way. Hugh Wheeler’s book moves the story forward at such a smart pace, you hardly notice his work at all (and I mean that in a positive way. Like a great film score – you don’t notice it if it does its job right). Mr. Sondheim was clearly at the top of his game when he was writing for these deliciously wicked characters.

I am especially moved by the deep harmonic textures of the score highlighted by orchestrator Jonathan Tunick’s gut wrenching strings. Mr. Sondheim’s brilliance at writing strong melodies which he peppers with the perfect amount of harmonic dissonance is a composer’s instruction book. It feels like I will never stop learning from this man.

Lesson: Go further. Push myself. Musicals can be rich, complex, dark and funny. Never play down to your audience.

6. ‘Les Miz’

When I saw the first touring production of John Caird and Trevor Nunn’s Les Miserables, I distinctly remember walking out of the theatre humming the stagecraft. I didn’t particularly care for the show itself (on first viewing), but I was enthralled by everything else.*

*Sidebar: I remember thinking to myself, “I want to work with these people one day”. A few years later I would be working with the director, the scenic designer and the costume designer and we would be nominated for 5 Tony awards for Jane Eyre. But I’ll save that for another time.

A this point in my life, I was a staff songwriter at Warner-Chappell Music and I had no connections to the theatre world. But one of the demo singers I worked with at the time was in the touring company of Les Miz and understudying Eponine. One night she called me and said she was going on – So I had to go back and see that show again that I didn’t particularly care for, aside from the dazzling stagecraft.

Experiencing the show a second time, I got it. The music  — that I thought sounded bland and monotonous the first time, on second listening, felt inspired. Though I will always be challenged by too much unnecessary resistive in the score, there is no denying the genius in the storytelling.

John and Trevor along with the rest of the creative team expertly adapted a classic novel for the stage in a way that made it resonate and sing. They knew which beats of the story to tell and which not to tell.  Adapting a novel into a musical is no easy task. John and I would later adapt Jane Eyre and Daddy Long Legs together, and I tackled a few Jane Austen novels on my own. There is no doubt that Les Miz led the way for me.

Lesson: A tutorial on how to adapt a novel to the stage.

7. ‘Light in the Piazza’

All I really wanna say about this one is: I love this show so much. It reminds me a bit of A Little Night Music though its tone is completely different.  When the musical was broadcast on PBS from Lincoln Center several years ago, I must have watched it about 15 times before my DVR actually broke.  Adam Guettell is the theatre’s current resident musical genius (though Jason Robert Brown’s Bridges and Last Five Years are also exquisite, and don’t get me started on David Yazbek and his brilliance).*

*Sidebar: I should have lost the Tony to David Yazbek instead of Mel Brooks.  Sorry Mel.

Piazza, with its minimalistic sets, astounding score and romantic story reminds us that there is a place for sophisticated shows that break musical boundaries. We may not walk out of the theatre “humming” these songs on first listening, but with further investigation the listener will be delighted to discover the deep layers of harmonic brilliance in Adams music.

Lesson: You don’t need to leave the theatre “humming the songs” to make a masterpiece. Sometimes we are challenged by writers to see and hear things differently — and we must evolve ourselves in order to appreciate their genius.

8. ‘Bloody, Bloody, Andrew Jackson’

I really loved this show when it was at the Public a few years back. Directed by the brilliant Alex Timbers, Bloody broke new ground and paved the way for the likes of Hamilton and other shows. Spring Awakening was the first “period” show that used the device of “contemporary language” integrated in a 19th century play.  In that show, characters spoke in the vernacular of the time but they “sang” in contemporary language. The result was powerful and stunning on stage in the original production. Bloody took things much further. While the characters were sort of dressed in the attire of the era –if everyone was in a punk rock or emo band – the language is completely contemporary and works brilliantly and hilariously. I don’t think this show gets the credit it deserves. It’s a true trailblazer. The musical inspired me to play with language, loosen the rules and basically – hate Andrew Jackson forever.

Lesson: Anything goes. Play with language. Play with sets and costumes and break every rule. Theatre is fun and wild and hit and miss. Don’t worry about it and try new things.

I’m always learning. I’m always listening. Sometimes we see a show and it’s not so great. And it doesn’t inspire us. But then that gives us the opportunity to learn, why it didn’t inspire us. And we learn from that too.

We all have opinions. Thanks for letting me share some of mine.

Cheers,

Paul

Learn more about Paul Gordon and his projects here: www.paulgordonmusic.com

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