Thursday, August 30, 2012

Streetcar!

Hey Everyone!

Does the title of this post ring a 'southern belle'?  It was the name of the musical version of 'A Streetcar Named Desire' featured in an episode of The Simpsons years ago.  A brilliantly hilarious parody, wonderfully executed.

In reality, musicalizing the Tennessee Williams classic would be an incredibly difficult task.  Sure the characters and situations are over-the-top (a necessity in musical theatre), but the original and film versions are so etched into our culture's mind that straying from them in an attempt to add a musical aspect (and receive any kind of positive recognition) would be virtually impossible to pull off.  Also, before writing any musical, the creative team has to ask themselves 'Does this absolutely HAVE to be musicalized?'  If the answer is anything but a resounding 'YES!', it's probably best not to touch the original piece.

All that said, last year I was tasked with exactly that project...to write a song for Blanche Dubois from a specific moment of 'Streetcar...'  (The play...not the Simpsons parody!)

The moment we were given is Act One, scene three, immediately following Stanley attacking Stella.  In this beat, Williams briefly elaborates on the newly forming connection between Blanche and Mitch. (One of Stanley's poker buddies.)

Blanche has just witnessed the attack, and subsequently overseen her sister, Stella, making love to the man who beat her.  She is dumbfounded when Mitch approaches her...

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MITCH 

All quiet on the Potomac now?

BLANCHE 

Oh!  She ran downstairs and went back in there with him.

MITCH 

Sure she did.

BLANCHE 

I'm terrified!  I'm not used to such-

 MITCH 

Naw, it's a shame this had to happen when you just got here.  But don't take it serious.

BLANCHE 

Violence!  Is so-

 MITCH 

Set down on the steps and have a cigarette with me.

BLANCHE 

I'm not properly dressed...

MITCH 

That don't make no difference in the Quarter.

BLANCHE 

Such a pretty silver case.

 MITCH 

I showed you the inscription, didn't I?

BLANCHE

Yes.
(Looking to the sky.)
There’s so much –So much confusion in the world…
(SUNG)
DISEASE, DEATH AND DISASTERS,
AS THE ONES PUT FORTH BY POE,
WELL, THE LOSS OF LOVE IS TRULY THE WORST TRAGEDY I KNOW,
(She looks up at Stella and Stanley’s apartment.)
BUT LOVE LIKE THIS,
THAT STRIKES WITH SUCH INTOXICATED RAGE-
(She cuts herself and the music off, a bit embarrassed as she sees MITCH is staring at her.)
Would you listen to me!  I’ve a handsome, lofty gentleman offering me a Lucky, and what do I do?  Submit to my frazzled nerves.  It’s that third drink again…I mentioned that I had three tonight?
(MITCH nods with a slight smile.)
I’m not accustomed –two is the limit…
(the blue hint of a blues song creeps up in the distance.)
A late encore from that blues man.  How sad he must be, making that piano moan all hours of the night.
(MITCH looks a bit confused.  The music transforms into a waltz-y lullaby.  SHE looks at MITCH.)
Still, it’s not without its beauty.  Quite soothing, actually.  Makes me want to sway with it.
(She sways gently with the lullaby.)
LISTEN CLOSE,
HEAR THE STRAIN,
FIRST A GENTLE VERSE, THEN A REFRAIN…
THEN COMES AN URGE YOU CAN’T CONTAIN
TO DANCE!

TROUBLES BLOOM,
WOES ABOUND…
THESE TIMES IMPLORE WE NOT IGNORE THE SOUND.
SO WHEN THE MUSIC CAN BE FOUND,
YOU DANCE.

SHAKING THE SHRILL LIGHT OF DAY,
LOST IN THE LOVELY BALLET…

FANCY FREE.
NOT A CARE.
A BRIEF REPRIEVE IS IN THE EVENING AIR.
SO TAKE MY HAND, AND LET'S PREPARE
TO DANCE...

I’m sure a cavalier such as you is quite used to having a full dance card, Mr…Mitchell?

MITCH 

Mitch.  Honestly, I don’t get out to dance halls much.  At all, really…

BLANCHE 

Why, that’s just a shame…there’s nothing, nothing in this world quite like tripping the light fantastic…

THE MUSIC FLOATS,
A SWEET CASCADE…
WE HAVE ONE TASK AROUND THE MASQUERADE,
THE LIGHTS HAVE DIMMED, SO IN THE SHADE
WE DANCE!

CHEEK TO CHEEK,
HAND IN HAND…
PASSIONS BLOOM AND THEY ASSUME COMMAND,
WE HAVE NO CHOICE BUT HEED THE BAND…
WE DANCE…

GLIDING OUR WAY THROUGH THE THRONG,
LOSING OURSELVES TO THE SONG!
(BLANCHE begins to move more to the music as it picks up speed, and soon sweeps MITCH up in the moment with her.)
DA, DA, DA, DA, DUM…
DA, DA, DA, DA, DUM…
DA, DA, DA, DA, DUM!
(The two pause, close to one another.  A musical riff plays as BLANCHE looks up at MITCH, locking eyes for a moment.  SHE then pulls away quickly, cheeks flushing.)
I’m so sorry!  What a silly thing you must think I am!

MITCH  

I don’t think you’re silly at all.
 (gaining confidence. Musical riff)
Miss DuBois?

BLANCHE 

Yes, Mitch? 

MITCH 

(Musical riff)
Can I…that is...do you think…

BLANCHE 

Shhhh…. I should be getting in now.
(Belltone)
HEAR IT SOFT,
THERE’S THE STRAIN…
FIRST, A GENTLE VERSE, THEN… 
(Chord)
Thank you for being so kind!
(Chord)
I need kindness now.

(The music swells.  Blackout.)


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Obviously the above scene begins and ends with Tennessee Williams' words, but we decided to extend the scene in order to assist Blanche in laying the groundwork for her seduction of Mitch.  My goal as the librettist/lyricist was to make it difficult to discern between Tennessee's words and ours for the adaptation.  Everything she says and sings has to be in Blanche's 'voice', or we lose our listener/reader.  Also, I wanted to give a sense of the fantasy she likes to live in, and give off to her suitors, hence the flowery imagery.  She wants the world to be as beautiful as she feels it should be, so that's the picture she paints.  And in this particular scene, she is enticing with a picture of a giant ballroom, filled with beautiful visions and people...something we can be sure Mitch has never seen before in person.

Musically, this tune is a waltz.  (My composer for this project was Adam Michael Kaufman.)  It's clean and pretty at first, though it grows distorted as the song progresses.  The 3/4 meter holds significance with Blanche's past.  It also feels slightly off balance, and subconsciously gives the listener the idea that there is something off with the words she is singing/saying.  Since every interaction she has with Mitch is an attempt to gain his interest and manipulate him, we wanted the music underneath to help tell that story, even when the words seem sincere.

Did the moment need to be extended?

Not for the play.  The play has a wonderful scene shortly before this, where we see Blanche and Mitch first meet and hit it off well.  The development of the relationship only required this brief moment to show just how kind a guy Mitch is, and instill in her mind that he is the right one to go after.  This is accomplished in the original dialogue.

BUT...

...since this would be an adaptation, it is entirely possible that the earlier scene may have been shortened, or even turned into a 'songlet' to set up for this fully realized moment of connection.  Regardless, this was what we were given to musicalize, and we saw it as an attempt to solidify Mitch as her target, and see her begin her 'act' for him...so that's exactly what we elaborated on.


And now, the BIG QUESTION...

If you had to choose, which moment from 'Streetcar...' do you think would be best to musicalize?  Why?  

Leave your thoughts in the comments below!


Until next time...

-Lee
...of 'Lee'rical Wordplay...

...in case there was any question...





Saturday, August 25, 2012

The First of First Year

Hey there!

So, as we're getting reacquainted, I thought it best to start at the beginning.  Throughout the year, we were given several different challenges.  (They call them assignments, but that is an understatement, as they intentionally choose things that have a heightened level of difficulty in order to push the class.)  For each 'challenge', we were tasked to write a song and given a new collaborator, along with a set of rules to follow.

Below are the lyrics I wrote as my first song of the semester.  The piece is based on the premise of a 'Sad Hello', and consists of a verse and a traditional AABA chorus structure.  The only place where the structure alters is the extension on the final A.

Side note:  Going forward, any lyrics to a song will be in all caps, as they would be in the libretto of a musical.  This will allow you to differentiate between what is sung and what is spoken.  (You're welcome!)

Side side note:  As my classmates may notice, this is not exactly as I presented it.  Due to compromises with my composer, the lyrics they ended up hearing were altered.  I personally prefer this version, as I feel the progression of the character is more fully realized.  (Just sayin'...)

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verse
MY HEART DROPPED TO THE FEET THAT BROUGHT ME THROUGH THE DOOR,
AND SHATTERED ON IT’S MELONCHOLY FALL.
A SHUDDER FLUTTERED THROUGH MY SPINE AND SHOOK ME TO THE CORE,
AS I HALTED, EYES LOCKED ON THE VISION WAITING ‘CROSS THE HALL.

THOUGH I KNOW SHE DIDN’T PLAN IT, I AM CURSING MY FRIEND LIZ,
FOR CHOOSING SUCH A LETHAL RENDEVOUS…
AND I HAVE TO SAY I’M PROUD OF JUST HOW STEADY MY VOICE IS,
AS I NONCHALANTLY, CAS-U-AL-LY SAY TO YOU…

chorus
HELLO BUFFETT
MY LONG LOST FRIEND
YOU’RE LOOKING WELL, AND HELL ONE LITTLE PLATE WON’T-
JUST A SALAD, PLEASE

STRANGE HOW TODAY,
YOU SHOULD EXTEND…
IT’S BEEN SO LONG, AND I’VE BEEN STRONG, SO IT’S O.-
NO!  JUST A SALAD, PLEASE.

THE SPREAD AHEAD IS OBVIOUSLY THE REASON THAT WE CAME,
AND THOUGH YOUR BATTERED DRUMSTICKS, ARE CALLING OUT MY NAME,
IF I GIVE IN, WELL, MY THIGHS ARE GONNA GROW TO TWICE THEIR SIZE…
IT’S A RISKY GAME!

HI, BAR-B-Q,
MAC & CHEESE, TOO?
YOU’RE VERY ‘KRAFT’-Y, DRAFTING HELP…TO SHAFT ME!
WHAT’S A GAL TO DO?

JUST A SALAD, PLEASE.

chorus
BON JOUR, FRENCH FRIES,
SO FULL OF SASS,
YOU HAD YOUR ROTTEN FRIEND, AU GRATIN, PAD MY –
PASS!  …A SALAD PLEASE!

UND GUTEN TAG,
TO YOU, HOT DOG!
SINCE I’M NOT SO SURE THAT YOU’RE KOSHER…OY VE!
…SALAD PLEASE!

IT’S NOT THAT I’M NOT TEMPTED, OH, I’VE CRAVINGS FOR YOU ALL...
THE FONDUE’S NOT EXEMPTED, NOR THE GIANT BUTTERBALL!
BUT A MOMENT'S CELEBRATION LEADS TO HELL AND PURE FRUSTRATION…
SO I MUSN'T FALL!

Y’ALL LOOK DIVINE!
IT’D BE A TREAT!
IF FUCKING SALAD WASN’T…’ALL-THAT-I- CAN-EAT!’

I’D GLADLY PASS THE YEARS WITH YOU, ‘OLD COUNTRY’, MY OLD PAL,
I’D HELP MYSELF TO HAPPINESS IN THAT ‘GOLDEN CORRAL’
AND THOUGH IT MAY SOUND GROSS, I’D POLISH OFF A ‘PONDEROSA’…
WITH THE GREATEST EASE,
BUT NOW JUST A SALAD…
I’LL ALLOW A SALAD…
BUT HOW I HATE SALAD…!

‘Oh, just give me a freakin’ plate!  First stop, dessert bar!’

PLEASE!


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And now, some extra fun!!

Since a blog is nothing without it's readers, I am going to invite YOU to be part of the process!

This particular song could potentially have dozens of choruses, and go on forever, just like Porter's 'You're The Top'...

Leave a comment below, suggesting something food or buffet related that you'd like to see worked into a verse, and I'll see what I can do and update everyone with new verses!

Together, we can make this song last longer than the end of 'Hey Jude'!

Until next time...

-Lee
...of 'Lee'rical Wordplay...

.....in case there was any question...

Thursday, August 23, 2012

Tuesday, August 21, 2012

Back To The Writing Board


Hello.

A simple word...yet one you've not heard from me for a while, huh?  Sorry about that...Let's just say that there has been quite a bit going on for the last year, and I've let it distract me...like a shiny obje- Ooooo, pretty!

Anyway, welcome back!  How about I fill you in on where life has taken my writing adventures since I last was here?  Then we'll all be up to speed, and you don't have to say, 'But Lee, you never told me that you...(fill in with awesome writing adventure)!'

I did.

Right here...right now.

Shortly after my SOTD challenge last summer, I met an amazingly talented songwriter with whom I set out to fashion a musical.  I don't like to name drop, so let's just call him...oh, I don't know...Scott Evan Davis.  (Wait...that is his name.  Guess I do like to name drop.  By the way, if you don't know his work yet, it's incredible.  Go here and give a listen...I promise you won't hate me for it.)

Anyway, Scott and I were creating a story based around a series of songs he'd written.  Some wonderful work, and we had an exciting start, but then two things happened that side-tracked both of us.  First, he started doing concerts...and I mean A LOT of concerts...and producing a cd.

And around the same time, I got accepted as a lyricist into the BMI Lehman Engel Musical Theater Workshop!

I'm sure there are many of you saying, 'Congratulations...What the Hell is that?!'  Well, it's this.  And it's been an amazing experience!  My only wish is that I had realized how cool it would have been to blog about my experience, the learning process, and my ups and downs with it.  But, what can ya do?

Oh, wait...I can blog about this next year!


And so, dear reader, here is my plan.

1.  To share with you various projects done in my first year of the Workshop.  (The good, the bad and the imperfect rhyming!)

2.  To blog through the process of my second year of the Workshop.  (Posting to follow shortly about what our second year entails...)

3.  To create a new challenge outside of the Workshop. (Because apparently I'm just not putting enough pressure on myself!)


So there you have it.  Again, welcome back.  A new beginning to a new set of challenges.

God, I love challenges.