Adam Guettel

[GavestonPS]

It's been a few years, jv92, but the LA version of the BMI Workshop was exactly as you describe the NY equivalent. (Well, not exactly equivalent since the NY edition has always been a bigger and more prestigious workshop.)

I thought it was great for the first year, as young writers should learn to construct well-crafted, 32-bar, AABA songs. But once one is graduated into the workshop proper, the endless parade of perfect 32-bar songs gets pretty tedious. I can't imagine what the panel would have done with an inventive masterpiece like FLOYD COLLINS!

[jv92]

Your description describes further "studies" and the work promoted and encouraged by the Workshop in NYC. Not all-- but most. Again, some friends may stone me for this, but I really think once one learns the AABA and typical song forms and the tools behind perfect rhymes and scansion, etc. (which one can readily learn from Sondheim's own lecture at the 92nd St. Y from 1971-- it's available from many sources, and if one joins the VERY NECESSARY Dramatists Guild, it's available on their website), the world is a songwriter's oyster. Who the hell knows what'll hit or miss? The biggest hit of the past decade-- HAMILTON-- didn't start at the Workshop. Nor did Lin Miranda, as far as I'm aware, attend it. 

My best advice to writers, and sometimes I have to follow my own advice given to others because I'm not as established as someone like Adam, is to adhere to craft, find their own voice, and write what they want to write. And don't sell out to Disney.  

[jv92]

Also, I have not posted here in some time, and that will continue. This site and board has gotten a bit too much for me, as much as I love the knowledge and enthusiasm of several of you on here. But when it comes to something I know about, care about, and want to make sure continues (i.e. the writing of well crafted, interesting and good musicals), I'm happy to sometimes contribute. To all of you people writing anything, good luck! We're all in the same boat, believe it or not. 

[GavestonPS]

You'll be missed, jv92. I hope you'll visit more often.

As I said, I found value in the first year, writing songs for Frankie Adams and Blance DuBois.

There's a story (perhaps apocryphal) about the young Salvador Dalí in which he paints a bunch of cherries on a wooden bench. The painting is so naturalistic that his father reaches out and tries to pick a cherry to eat. Of course, nobody wishes Dalí had continued in a naturalistic vein; but neither did it hurt him to learn.

There's craft in every art and more than one way to learn it. Ideally, we'd all go to summer camp and put up a new show every week, with live actors and full sets and costumes like Fred Ebb, Mary Rodgers and Charles Strauss once did. But, alas, that world is gone forever.

[RippedMan]

But what's he up to? There's not even an inkling of what he's doing. 

[GavestonPS]

Read the first page, RM. Mr. Guettel himself posts and mentions two upcoming projects.

[gypsy101]

yeah, learn to read

[devonian.t]

Ah, one of the threads that make the rest of the nonsense on BWW bearable!

Mr. Guettel kindly responded last year when we were discussing writers who we would like to see more of, so it's nice to know he still visits from time to time.

'How Glory Goes' is, for me, one of the most beautifully transcendental moments in musical theatre, so I am thrilled to hear that another score is coming down the line.  It sounds like a great creative team, too!

jv92, I've always enjoyed your contributions here- maybe BWW needs a separate board for the more... mature members?

[Ado Annie D'Ysquith]

Wow John, thank you so much for your kind words! They're just what I needed to hear, as yesterday I was wondering if any of my work had any tangible purpose in this world...

I'm currently at work on a new play-with-music that is mostly a fantasia on a female director's experience, but some of my best lyrics are in it! I'd be happy to send you an excerpt.

[jv92]

Ado Annie D'Ysquith said: "Wow John, thank you so much for your kind words! They're just what I needed to hear, as yesterday I was wondering if any of my work had any tangible purpose in this world...

I'm currently at work on a new play-with-music that is mostly a fantasia on a female director's experience, but some of my best lyrics are in it! I'd be happy to send you an excerpt.

I think anyone who writes or creates anything is brave, but especially when it isn't "typical" or reaching for something a little higher. Believe me, I feel the same as you do. I love Pasek and Paul and their work. They're darling guys and I love that their stuff is dark, but I'm not as "user-friendly" a person as either extremely sweet gent is. Among other things... I feel like I was born too late sometimes.

 

Please do PM me with contact info, and I'd be happy to review whatever you'd like to share. It'd be a delight. 

 

 

[jv92]

jv92, I've always enjoyed your contributions here- maybe BWW needs a separate board for the more... mature members?

I'm afraid that board will have to exist over drinks. There are a lot of people in the industry I personally like, and some more whose work I adore and feel ill when potshots are taken at them and their creativity. And because I know several of these people, since I've "grown up" a bit since my FOLLIES discovery days, I think it's best to stay away when possible. Plus "MurinGate" turned me off. I'm all for being kind and looking at every side possible to criticism and opinions (I think being "journalistic" is a good thing to be), but that whole episode left a bad taste in my mouth. And not because I was in favor of the lady who started it. As long as criticism and opinions are well formed, articulately conveyed with maturity, I can bear it. 

 

But if there ARE any kids in high school or college who feel that their work is of decent quality, craft and imagination, I'd love to hear from them. By your pupils you'll be taught, after all.

 

All best to you guys! 

 

[GavestonPS]

gypsy101 said: "yeah, learn to read

 

"

That's not what I said or meant, gypsy. Ripped Man isn't fragile, but I wish you wouldn't piggyback on my posts if you're going to snark where I have not.

I get into enough trouble all on my own. LOL.

[lachri5]

This Shen Family Foundation has been on my radar for a few years. Just now I noticed on its website a 2017 production of Millions is listed! http://shenfamilyfoundation.org/grant.html

Signature Theatre didn't announce anything. Is that a workshop?

Update: Fix grammar. Also it had been removed from the page since. I guess it was planned to premiere at Signature Theatre in VA, but it didn't work out.

[John Adams]

So... It's been a minute since there's been any news RE: Millions, and I'm soooo longing for more music from Adam Guettel. Is there any progress report, or update of any kind?

I know of one recorded song (March is a Windy Month) on Audra McDonald's Sing Happy album, and there's a YouTube performance of Find Me from a New Voices Collective concert, but I'm jonesing for more... REALLY badly; like I've got the shakes! 

Christmas is coming and I have a wish. I would really love a teaser, concept, or 'unsung' album of Adam Guettel music. It doesn't have to be fancy. Maybe just Mr. Guettel at the piano with various artists singing songs from the (scrapped?) Princess Bride project, The Days of Wine and Roses, Millions, and/or anything else Mr. Guettel could release.

I need a fix, man... I need it BAD...

[ErmengardeStopSniveling]

Who's the bookwriter for MILLIONS, Craig Lucas? Originally Scott Rudin and Marc Platt were producing it together (with Bartlett Sher directing), though there hasn't been any news in a few years.

[devonian.t]

2017 seems so long ago!

[AADA81]

I think The Light in the Piazza is one of the three or four most accomplished and unforgettable scores of the last 30 years.  It is simply superb.  My only complaint is that Guettel hasn't followed it up with many more because it is an all-time great achievement.  Here's hoping for more.

[Ado Annie D'Ysquith]

This might be the wrong place to ask this, but was Dove Cameron really able to sing that score in the LA production with Renee Fleming?