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Early Readers of MUSICAL THEATRE: SECRETS OF THE GREAT SHOWS Say:
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From John Sparks:
Writers, directors, actors, producers, audiences and People Who Hate Musical Theatre should read this book! There’s something valuable on every page. You will find wise advice and concisely phrased information that will enhance your connection to the most popular and purely American art form on the planet. Read it today, and then keep it handy - because you will want to read it again.
Founding Director New Musicals, Inc
(formerly The Academy for New Musical Theatre)
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From Ken Stone:
Musical Theatre/Secrets…”Sheds light on the all-important question of choosing a story that deserves to be a musical. (Virginia) knows what she likes and knows why. You will end up convinced, or at least enriched, by what she has to say. Analytical but never dry; full of love for the musical form, a very useful distillation of the lessons learned in years of thoughtful theatre-going and writing.”
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From Robert Davis:
“I don't really consider myself a 'musical theatre' aficionado. Even so, I don't think one would need to be to follow and enjoy this work. This would make a nice 'day-at-the-beach' read for almost anyone (and I mean that in the best possible sense of the phrase).”
MUSICAL THEATRE: SECRETS OF THE GREAT SHOWS
a new non-fiction e-book
Now available on Amazon/kindle
Musical Theatre: Secrets of the Great Shows is a handbook of ideas for writers of musicals, and a useful resource for producers, directors, performers and anyone interested in understanding what makes a musical tick.
The question asked is, “What did the creators of the classic shows, like Oklahoma! and Fiddler on the Roof do right?” And then, how can we apply their ideas, principles of construction, and their insight into human nature, to the new shows we are now creating?
The Shows examined are:
MY FAIR LADY
FIDDLER ON THE ROOF
WEST SIDE STORY
THE MUSIC MAN
THE KING AND I
GUYS AND DOLLS
The first part of the book goes over some basic ideas and definitions that are then, in Part II, applied to the above shows. Part III discusses valid differences in tastes and has some short notes on other shows. Part IV includes a brief discussion of the differences between film and live theatre, and concludes the book.