| re: so clearly books for musicals are dismissed by you | |
| Last Edit: Chazwaza 01:54 pm EST 01/24/18 | |
| Posted by: Chazwaza 01:48 pm EST 01/24/18 | |
| In reply to: so clearly books for musicals are dismissed by you - dramedy 12:30 pm EST 01/24/18 | |
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| Golly, why not chill on the snide accusatory tone. They *obviously* are not "dismissed by me", because in my original post I counted Caroline or Change for Kushner. I also did not assert that McDonagh IS FOR SURE the most produced playwright on Broadway in whichever time period we're discussing. But as I have now seen it worthwhile to change the original qualifications from having been established on Broadway by 1970 to 1980 (i think this is very fair), McNally does not count as going up against McDonagh who wasn't established until the 90s. Furthermore, since you bring it up... though I do love and respect and admire book writing, I think it's very worth noting that in this conversation about what playwrights' new plays get produced most on Broadway, including books to musicals is tricky because almost without exception a musical is not produced or sold on the name or past works of the book writer. If any writer would be responsible for it being produced and marketed it would be the composer (and to a lesser extend the lyricist if they are different people, unless they're a known team with a "brand" name like Kander & Ebb or even Ahrens & Flaherty)... so to count all the musicals McNally (or anyone) has written the book for as evidence that they as a playwright can get interest from producers is a bit of a stretch in my opinion. The one biggest example of an exception is Kushner with Caroline or Change. There are others, and certainly the track record of a book writer (as a playwright or book writer) can help get a musical going, and the love of a musical they wrote the book to could help sell their plays (ie from the writer of Ragtime, etc)... but we all know the reason musicals get going, and largely the main reason most people love or remember a musical is because of the score. (Again, no disrespect to the incredibly important and difficult work of the unsung hereos of theater writing, having studied and written books to musicals I know all this, i'm just reflecting the reality of most audiences as I see it) So it's an interesting question as to whether or not they are to be considered in this discussion... which it doesn't seem like you want to have in the first place given the tone. |
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