With . I think I’m always subconsciously trying to write the ideal school play. Lots of parts for everybody, great parts for women — don’t forget, more girls try out than boys in the school play; everyone gets to be in the school play. . He was always George Washington . learning new shit . musical . cowrote the . Just don’t let them know what your sophomore project is . Robert Rodriguez . nd I wrote the King George song on our honeymoon without a piano around . nd I wrote the King George song on our honeymoon without a piano around . when I was still in . . I had t . I had the idea for . I saw a physical reaction on the hip-hop numbers . It was this love story about these two people who could never be together, because that’s what I was going through in my head. . I just didn’t bring anything from home to what I was writing . the first two musicals I wrote in high school, they sound like Rent. There’s no Latin anything in them. . they call me Lin at school and Lin-Manuel at home. It’s also super stark when there’s another language involved. I speak Spanish at home and English at school . Rent . was the show that made me want to write. Or that showed me you’re allowed to write. . how to use themes in order to take a short circuit to someone’s tear duct or heart or gut . This is not happy show tunes . it’s the opposite of what most people’s prejudices with musical theater is: It’s not sunny and uplifting . it’s trying to capture so much of the human experience that even if we fall short, we’ve got a lot of it . It’s not just that you have a show on Broadway — if you literally take a step back on the street, your show and Les Mis, the show that helped mold who you are, are on the same block . 35-year-old . “genius grant” recipients

Genius: A Conversation With ‘Hamilton’ Maestro Lin-Manuel Miranda «

And by story, I mean something that takes you in a state of tension from scene to scene and moment to moment, as opposed to just inundating you with colors and moods . doesn’t have much of a plot. But it sure has a strong story. . h . I’m a big farce fan. I’m a big plot fan . I’m a big melodrama fan . I didn’t use the word great. That’s not one of my favorite words because it implies a value judgment . As an actor, you can just play the scene. If you’re a performer and it’s a number, you have to make it land, if that’s what’s required . it takes a number of performances before you change anything in a musical . I have to see that contact before I start to change things . performer has to make a contact with the audience . Numbers go out front, no matter how intense . musicals are presentational plays . Brahms through 1930s Stravinsky. . Ravel . The second act is about the consequences of not only the wishes themselves but of the methods by which the characters achieve their wishes, which are not always proper and moral. . It’s about moral responsibility . The trouble with fairy tales is that they’re really only five minutes long. There’s one incident, maybe two, and that’s all there should be. . a play about a man and his landscape and how he controls it. And how hard it is to make art. . Of course, the main character’s missing. I said, Who? He said, The painter. . over fifty people in it and nobody’s looking at anybody else . Grande Jatte . La . Seurat painting . Hal Prince produced and directed your musicals and now we enter the Sondheim–James Lapine period, . based a lot of the score on a specific chord that Herrmann uses in almost all his film work . It’s infused with music to keep the audience in a state of tension, to make them forget they’re in a theater, and to prevent them from separating themselves from the action. . principle of suspense sequences in movies . the only way you can do it, considering that the horrors out on the street are so much greater than anything you can do on the stage, is to keep music going all the time . n order to scare people . Characters had themes and the themes assembled, disassembled, reassembled. You’ve said that you were influenced by, of all people, Bernard Herrmann. . p keys just to get away from the pattern. . I find that most composers consider sharp keys the enemy and flat keys the friends. Flat keys somehow are more welcoming. I often force myself to write in shar . I force myself to write in keys that I haven’t written in for a while . if you work at the piano, you’re limited by your own technique. . w what your choices are. There I also have a favorite, by Norman Lewis. . have a . accompaniment figure and/or some sort of refrain line or central idea for a lyric. Those are the two kinds of glue for a song. . s . ain Resnai . A . The British seem to have inherited it from us. . He was a morality playwright. He wrote about Everyman. . That’s why the lyric is so bland and dull—it’s background for Jerry’s pyrotechnics. . It’s the opening number that’s killing it . to the Forum . ened on the Way . Happ . was . and, if memory serv . the first Broadway show for which you wrote music and lyric . c a . A Funny Thing . s and, if memory serv . lyrics are also about open vowel sounds . The English language has forty-two sounds in it, . Two of the hardest words in the language to rhyme are life and love. . English language is a difficult tool to work with . music’s abstract and it’s fun and it lives in you . I asked him if he would teach me atonal music. He said, There’s no point until you’ve exhausted tonal resources for yourself. You haven’t, have you? I said, No, and I suspect I’ll never want to. So I never did study atonal music . working up at Columbia on synthesized music . Milton Babbitt, the avant-gardist’s avant-gardist . He took all the mystery out of music and taught craft. . Robert Barrow was talking about leading tones and diatonic scales . n elective my first year, I took music . major is English . a mathematician by nature, . try an original . a nonplay, a narrative someone else has written—it could be a novel, a short story—but not a play, not something that has been structured dramatically for the stage, and musicalize that . a play that you think is good but flawed, that you think could be improved, and musicalize that, seeing if you can improve it. . take a play that you like, that you think is good, and musicalize it. In musicalizing it, you’ll be forced to analyze it. . set up a situation, have a development, and then a conclusion
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