Waterstones How Musicals Work
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Price: £16.99
Brand: Waterstones
Description: Musicals are the most popular form of stage entertainment today, with the West End and Broadway dominated by numerous long-running hits. But for every Wicked or Phantom of the Opera, there are dozens of casualties that didn't fare quite so well. In this book, Julian Woolford explores the musical-theatre canon to explain why and how some musicals work, why some don't, and what you should (and shouldn't) do if you're thinking of writing your own. Drawing on his experience as a successful writer and director of musicals, and as a lecturer in writing musicals at the University of London, Woolford outlines every step of the creative process, from hatching the initial idea and developing a structure for the work, through creating the book, the music and the lyrics, and on to the crucial process of rewriting. He then guides the reader through getting a musical produced, with invaluable advice about generating future productions and sustaining a career. The book includes dozens of exercises to assist the novice writer in developing their craft, and detailed case studies of well-known musicals such as Les Misérables, The Sound of Music, Miss Saigon, Little Shop of Horrors, Godspell and Evita. An essential guide for any writers (or would-be writers) of musicals, How Musicals Work is a fascinating insight for anyone interested in the art form or who has ever wondered what it takes to get from first idea to first night.'A comprehensive and thoughtful guide to everything one must consider in order to write a successful musical. It would take at least a decade to learn all of this on one's own. Invaluable.' David Zippel (lyricist of City of Angels and The Woman in White)'If anyone knows how musicals work (I'm not sure I do), this highly entertaining dissection of every aspect of that bewildering art form reveals that Julian Woolford does.' Tim Rice.
Category: Books
Merchant: Waterstones
Product ID: 9781848421752
Delivery cost: 2.99
ISBN: 9781848421752
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Author: Ellen
Rating: 5
Review: This book has proven invaluable to me, first as a musical theatre MA then PhD student, then as a teacher in higher education. It is the most comprehensive book of its kind, filling a real gap in the literature. It's easy to follow, with plenty of examples and exercises making it relatable and engaging for any level of experience, whether student or professional. It is also a great resource for dipping in and out of if your musical is struggling with a particular issue or if you're trying to assess why something isn't working. I personally use this book teaching in higher education, though the writing and structure would make it suitable for high school students and above. The exercises are particularly helpful for my MA students who have used them to great success in developing both their writing and their comprehension of the genre. An invaluable book for any musical lover's shelf.
Author: The Outsider
Rating: 4
Review: If you're writing a musical (are you, really?) you might find this structural approach interesting and useful. Julian Woolford does write them and he offers clear wisdom on how to do it. If you are familiar with Joseph Campbell's 'mono myth ' (are you?) you will find this easier to follow. He takes a page out of Robert McKee's Story (well, more than a page) and sets out in clear terms, the 12 stages of the mono myth and applies it to musical theatre. He eschews modern musicals (post modern, really) and embraces the traditional Broadway musicals. He has clear likes and dislikes. For example, he has high regard for show tunes and contempt for rock music (lazy, according to Julian). In other words, he likes old fashioned musicals or ones from more serious composers. Given the dominance of rock music and jukebox musicals, this is more than a tiny blindspot. He focuses on the conventions (the I want song, the showstopper, the 11 O'Clock song) which make musicals tick and relates these to the stages of the myth. There is a bit at the end about writing music which if you write music, is irrelevant. It is clear and intelligent for the most part, and pretty didactic.
