A "Gentleman's Guide" to the Art of Shaping a ScriptAuthor Robert L. Freedman of "Love and Murder" writes the book of books
Shalom, Broadway lovers!In today’s Premium edition of MARQUEE: The Broadway Maven’s Weekly Blast: a review of a book on writing Broadway books (scripts); a Broadway Maven YouTube GEM about the original opening numbers from A Funny Thing Happened on the Way to the Forum; a Broadway Blast about Company; a quiz with a fun twist; a homework video for the July 15 class on Into the Woods; and a Last Blast about Les Misérables. NOTE: The calendar for the second semester of 2024 Broadway Maven classes has been announced, and a July-December ALL-ACCESS Pass is now on sale. Get automatic access to 50 classes for just $99. Includes 6 months’ Premium subscription to MARQUEE (a $30 value), access to the archive, two bonus classes only for ALL-ACCESS Passholders, and periodic drawings for off-Broadway and Broadway tickets, including at least one opening night. Classes offered include Rodgers & Hammerstein, Stephen Schwartz, “Sondheim Academy,” Jewish Broadway, Lyrics & Lyricists, and more.
REVIEW: The Broadway bookshelf is brimming with how-to guides for songwriters, but the literature on how to write a musical’s book (script) is sparser. I recently read a terrific (and short) volume that helps fill the gap, guiding the reader through the creation of a Tony-winning musical’s book: Notes on the Writing of A Gentleman’s Guide to Love & Murder. It’s valuable both as a fascinating behind-the-scenes look at the creation of a beloved recent musical, and as an essential read for aspiring writers. Here are four takeaways from this very useful guide to Broadway book-writing: 1) Book writers are unsung. Freedman tells of a comment made to him by West Side Story and Gypsy book writer Arthur Laurents: “If you want to become famous, don’t be a book writer for musicals.” 2) Not everything is right for musicalization. Freedman suggests that period pieces like Gentleman’s Guide lend themselves well to Broadway shows because “a bygone era or fanciful setting helps the audience with its suspension of disbelief” regarding characters breaking out into song. The best musicals with contemporary settings, according to Freedman, exist in their own (perhaps little-known) world, like that of missionaries in The Book of Mormon or dancers in A Chorus Line. 3) Even when you don’t “write what you know,” you do. Freedman relates, “I have never murdered anyone, and what I know about Edwardian society I learned from books and movies.” But, he writes, he still knows about human relationships and in fact at one point in writing a scene with a bickering couple he realized he was writing about his parents without knowing it. 4) The challenge in adaptation is making the work your own. Freedman suggests that when people feel a show is “not as good as the book” it’s often because the musical tried too hard to match the source material, thus denying itself the chance to bring a fresh interpretation that could be satisfying in a different, but meaningful, way. Note: Freedman will be on the “Art of the Lyric” coordinated by The Broadway Maven at BroadwayCon Sunday, July 28. BROADWAY MAVEN YouTube GEM: Before “Comedy Tonight,” Sondheim had two different opening numbers at the start of A Funny Thing Happened on the Way to the Forum. He just didn’t feel the earlier versions were connecting with audiences or setting the proper tone for the evening. Did he make the right choice? What do you think of “Invocation” and “Love is in the Air” – the two “unsung” openers that were replaced?  BROADWAY BLAST: In the song “Ladies Who Lunch” from Company, Joanne muses about playing “perhaps a piece of Mahler’s,” a reference that might nod to Stephen Sondheim’s respect for his onetime collaborator Leonard Bernstein, renowned for his interpretations of Gustav Mahler's work. However, the choice of Mahler here is deeply ironic and serves as a biting critique. Mahler’s compositions, known for their emotional depth and complex expressiveness, stand in stark contrast to the superficial and emotionally detached lives of the socialites Joanne describes. By invoking Mahler, Sondheim subtly highlights the gulf between the authentic artistic expression and the shallow engagement of the "ladies who lunch," who might only show a dilettante’s interest in such profound art. This mention underscores Company’s central motif of superficiality versus genuine emotional engagement, which comes to its climax in the very next song, “Being Alive.” QUIZ: What do the following things have in common? Answer found after the Last Blast.
HOMEWORK: Here’s a great way to help you prepare for the Monday July 15 Into the Woods class: this excellent video by music educator Mateo Chavez Lewis. Mateo, who will be joining us at his piano for a new music segment in class, uses this video to show the ways the “learning motif” and the “bean theme” combine with the motifs of various characters to create songs like “I Know Things Now” and “Giants in the Sky.” 
This class will delve into the complex themes, brilliant music, thought-provoking lyrics, and the clever book (by James Lapine). We’ll explore how the show has captivated audiences and critics, its film adaptations, and different interpretations. Is the show Freudian, or Jungian, or something else? What is "the bean theme" and what role does it play in the show? What is the show's best wordplay? Music educator Mateo Chavez Lewis will join us at his piano with an all-new insight into this musically intricate show. Don’t miss your chance to enhance your understanding and appreciation of Sondheim’s masterpiece with insights from David Benkof, the Broadway Maven. Register now to secure your spot in this FREE online class.
Note: Links to register for ALL classes are always available at TheBroadwayMaven.com.• Monday, July 15 FREE class on Into the Woods Noon and 7 pm ET(Register here) • Friday, July 26-Sunday, July 28 BroadwayCon in Times Square (2-4 panels coordinated by The Broadway Maven) • Mondays in August: Noon and 7 pm ET Rodgers and Hammerstein series • Tuesdays in August: Noon ET Stephen Schwartz series • Mondays in September: Noon and 7 pm ET Jewish Broadway series • Tuesdays in September: Noon ET Sondheim Academy Act Three NOTE: As always, ALL-ACCESS Passholders do not have to sign up or pay for anything. Just show up!
LAST BLAST: The barricade in Les Misérables represents more than just a physical barrier in a revolutionary struggle; it represents the internal personal and political struggles of the characters. There’s a barrier (the rebellion) that keeps Marius from committing totally to Cosette; and a barrier (a vision of justice) that keeps Javert from letting go of his pursuit of Javert. Eponine, Jean Valjean, even the Thernardiers can be said to have internal barricades that prevent their full flourishing. So you could even say the entire musical is about barricades, a powerful metaphor for resistance and resilience, uniting many individual stories under a common theme of defiance against oppression. ANSWER TO THIS WEEK’S QUIZ: They are all red, white, or blue. Happy Fourth of July! Broadway Maven David Benkof helps students further their appreciation of musical theater through his classes, his YouTube channel, and MARQUEE: the Broadway Maven’s Weekly Blast. Contact him at DavidBenkof@gmail.com. Invite your friends and earn rewardsIf you enjoy MARQUEE: The Broadway Maven's Weekly Blast, share it with your friends and earn rewards when they subscribe.
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A "Gentleman's Guide" to the Art of Shaping a Script
July 03, 2024
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