A Charming Notion (Part II)

Just a thought...

Writing is hard.  Right?  I mean, there are wonderful aspects of it, and once you've 'finished' something you're really proud of it feels amazing, but the work of it...the actual 'writing' part of writing...that's difficult.

There are rules you have to follow, and have to know when to break, and they differ between the various types of writing you may be doing.  And with different forms of writing, the fact is that even when you follow the rules, and have done so many aspects of it right, the end result still may not all add up quite the way it should.

That's the way I feel about the next song I am presenting to you.  Yes, that's right...I am not only presenting what I consider to be my successes!  How would we learn anything if we only focused on what worked?  The fact is, we grow a hell of a lot more from the failed attempts than we do from the winning ones.

So with that in mind, this next song helped me grow.  A LOT.

This assignment was a seemingly easy one (compared to other challenges in the workshop), but it's one that has frustrated my collaborator and I to this day.

My collaborator on this was composer Jonathon Lynch, and the challenge was to write a Charm Song for the old classic movie, 'It's A Wonderful Life'.  Don't know what a Charm Song is?  Well, click here.  Or here.  Or even...here!  (hint:  They all go to the same place...but go ahead...click them all, just to be sure!)

Anyway, we had to write a song that did not progress the story, but could be used to give the audience a break and a feel of the overall world of the show.  In this case, the 'show' would be our hypothetical musical rendition of the old Jimmy Stewart film.

Jonathon and I set out to do just that.  We watched the film and discussed the moments we felt worked best for such a song, and finally concluded that the moment we wished to work with was just about mid-way through the film...the scene where we first see Bailey Park, and George is welcoming Mr. and Mrs. Martini (the bar owners) to their new home.  It's a scene about hope, about dreams coming true, about funny Italian accents...and so that's what we wrote.

The scene/song below was our first attempt at this Charm Song.

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Livin’ The Dream!

(The scene opens on a large oak tree, with a sign made from sticks hanging from a branch overhead reading ‘Welcome to Bailey Park’.  We push past the oak tree and see several quaint and lovely little houses lining a well-kept dirt road.  There is a crowd surrounding one particular home, number 4587 Bailey Way.  The crowd is cheering as we see MARY and GEORGE BAILEY standing on the porch with a few items in hand.  The MARTINI family is standing in front of them.)

GEORGE

Mr. and Mrs. Martini…Welcome home!

MARY

(to Mrs. Martini)

Bread…that this house may never know hunger!

(SHE hands Mrs. Martini the items.)

Salt…that life may always have flavor!

GEORGE

(grabbing the wine)

And wine!  That joy and prosperity may reign forever!

(HE hands Mr. Martini the bottle of wine.)

Enter the Martini castle!

MARTINI

(accepting the wine, he crosses himself, then speaks with a thick Italian accent.)

Thank you!  So nice!

CROWD

(overlapping one another)

Hurray!  This is just great!  Fantastic!  Speech!!

(everyone grabs onto the last word, and chants it.)

Speech!  Speech!  Speech!  Speech!

MARTINI

(reluctantly accepting.)

Ok, OK!  I’ma make-a da speech!

(an exciting chord is heard.  Perhaps filled with mock reverence, mixed with a bit of Italian stereotype.  SUNG:)

FIRST, I LIKE-A TA THANK YOU ALL

FOR COME TO CELEBRATE

THE VERY FIRST HOUSE I’MA EVAH OWN!

I’MA SO PROUD, AND SO HAPPY TO SAY…

WE LIVE AT 4-5-8-7 BAILEY LANE!

GEORGE

(the music pauses as GEORGE corrects him.)

Uh, that’s…Bailey Way…

MARTINI

(Music repeats the phrase.)

4-5-8-7 BAILEY WAY!

You know, not so long ago Marie and I, we dream-a to one day rent-a da house in Potter’s Field.  And now…now, we own-a da home!  I’ma livin’ da dream!

(The crowd cheers)

GEORGE

Well, that’s just beautiful!  Isn’t that beautiful, folks?!

(HE lifts a glass to toast, as a brisk underscore starts up.)

BERT

Guess that just goes to show, sometimes what you end up with is better than what you wanted in the first place…

GEORGE

What d’ya mean, Bert old boy?  You didn’t always know you’d be the best darn flatfoot this town’s ever seen?

BERT

Oh no, Georgie.  I had a different idea…once…

WHEN I WAS A KID,

THERE’S ONE THING I DID…

BASEBALL ALWAYS MADE ME GRIN.

THE ROAR OF THE CROWD,

THE MEN TOUGH AND PROUD…

WITH THE SKILL IT TAKES TO WIN!

THEN, I NEARLY SPAT,

IT WAS MY FIRST ‘UP AT BAT’!

I MISSED THE BALL, AND ‘STRIKE OUT’ WAS THE CALL, LIKE THAT!  THE

COACH YELLED “HEY, SON,

WHY CAN’T YA CATCH, HIT OR RUN…?

GUESS YOU’RE JUST TOO FAT!”

WELL, SPORTS WERE A FLOP.

BUT NOW, AS A COP,

ALL I DO IS WALK MY BEAT…

SO, I NEVER SCORED…

THERE’S STILL A REWARD…

ALL THE DOUGHNUTS I CAN EAT!

NO DOUBT I’M LIVIN’ THE DREAM!

YOU’RE OUT!  I’M LIVIN’ THE DREAM!

THOUGH I COULD NEVER WATCH MY WEIGHT ENOUGH TO GET ON THE TEAM!

CAN’T USE A BAT ON A CON, BUT I CAN SWING A BATON,

SO FROM NOW ON I’M GONNA LIVE THE DREAM!

ERNIE

Wow, Bert…that’s a pretty good pitch you got, there!

BERT

That’s not what Coach said…

GEORGE

You guys are a couple of real cutups!

ERNIE

Say, that reminds me of what I used to want to be as a kid!

BERT

Barber?  Butcher?  Seamstress?

 (everyone looks at him)

…cut ups…?

ERNIE

Oh, no…I had something else in mind…

WHEN I WAS A BOY,

MY ONE SINGLE JOY…

I WAS GONNA SAIL THE SPHERE!

THE SALTIEST AIRS…

THE SWEAR-I-EST SWEARS…

WHAT COULD BRING A MAN MORE CHEER?

BUT WHEN WE SET SAIL,

MY KNEES WENT WEAK, MY CHEEK PALE,

WHO COULD-A KNEW THAT THE ENTIRE CREW WAS MALE?!  OH,

NIGHT AFTER NIGHT,

AND NOT A DAME WAS IN SIGHT…

MIGHT AS WELL BE JAIL!

I HURRIED ASHORE,

NOW WHAT WAS IN STORE?

HAD TO WORK FOR MY THREE SQUARES…

I HOPPED IN MY CAR…

FOUND I COULD GO FAR,

DEALIN’ WITH THE LADIES’ FARES!

AND SO I’M LIVIN’ THE DREAM!

LAND HO!  I’M LIVIN’ THE DREAM!

AND YOU WILL NEVER SEE ME FLOUNDERIN’ OR SWIMMIN’ UPSTREAM…

WHO NEEDS A GAL AT EACH PORT, WHEN THERE ARE TONS HERE TO SPORT?!

WHEN I’M ESCORTING THEM I LIVE THE DREAM!

GEORGE

Say, that’s real classy Ernie!

ERNIE

Well, I did always want to explore ‘abroad’!

BERT

Who knew?  Guy goes out to sea and comes back all wet!

GEORGE

Hey Martini!  Martini!  It’s your big day!  How about you finish that speech of yours!

MARTINI

Ok…Ok!

MA DREAM ON DA SHELF?

I THINK-A MASELF,

I’MA RENT A HOUSE FOR LIFE…

A PLACE FOR DA BEDS,

ROOF OVER OUR HEADS…

AND A KITCHEN FOR MA WIFE!

DA DEAL, SHE’S-A PASS,

A PLOT IN OL’ POTTER’S GRASS,

THE ROOF’SA LEAK, THE FLOORS-A CREEK, SHE

SMELLS LIKE GAS!  BUT,

POTTER NO CARES…

NO LET ME MAKE NO REPAIRS!

THIS MAN, HE’S AN ASS!

I’VE NO MUCH TO SPEND,

SO ASK-A MA FRIEND,

BAILEY’S SAVINGS AND-A LOAN!

WITH HELP FROM DIS GUY,

WE’RE ABLE TO BUY

OUR OWN ABITAZIONE!

ALL

SO NOW THEY’RE LIVIN’ THE DREAM!

BOY, HOW THEY’RE LIVIN’ THE DREAM!

BERT

SHAKE OFF THE DUST…!

GEORGE

NOW YOU’RE THE UPPER CRUST…!

ERNIE

THE CRÈME DE LA CREAM!

ALL

THEY SAW THE TINIEST SPARK, AND TOOK A SHOT IN THE DARK,

NOW BAILEY PARK IS WHERE THEY LIVE THE DREAM!

ALL

TODAY WE’RE LIVIN’ THE DREAM!

HUR-RAY! WE’RE LIVIN’ THE DREAM!

NO LONGER SQUATTERS DOWN IN POTTER’S FIELD,

WE’RE HELD IN ESTEEM,

WE SAW THE TINIEST SPARK, AND TOOK A SHOT IN THE DARK,

NOW BAILEY PARK IS WHERE WE LIVE THE DREAM!

TODAY WE’RE LIVIN’ THE DREAM!

HUR-RAY! WE’RE LIVIN’ THE DREAM!

AND BAILEY PARK IS WHERE WE LIVE…

THE…

DREAM!

(End of scene.)

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We wanted the theme of this song to be that we often think we want one kind of life, but as events occur and time passes, we sometimes see that we end up right where we want to be.  Our goals change, and we can find the ideal life we never knew we wanted.  Sounds about right for the movie, right?

Well, this song missed the mark.  Not because Jonathon didn't write good music.  Not because I didn't follow the rules and write good lyrics.  Because something about it felt inappropriate.  It seemed like they were singing about things that were NOT the dream a lot more than telling us WHY they were 'living the dream'.

Also, the primary focus of this scene is supposed to be our lovely Italian stereotypes, Mr. and Mrs. Martini, receiving the keys to their very own house in Bailey Park.   This shows us how George was helping people in general...but most specifically, the Martini family!  And in we come with an ensemble of other characters to elaborate on this scene/theme, and completely pulled focus from the moment at hand.  Basically, we had a scene about a family moving into their new place, and we stole the moment from them to give (another) opportunity to Bert and Ernie (the town cop and the town cabbie), who are in MANY other scenes and could potentially have MANY other songs already.

I'd like to say that the realization of this was enough for us to scrap the version entirely, and try something completely different.  I'd like to.  But I can't.

Unfortunately, we had in our heads that this could work...and so when given the opportunity to rewrite, we tried making adjustments to the material you see above.  The result was better, but still less than successful.

As you'll see soon, when I post 'Part III' which will include our rewrite...

 

Until next time...

-Lee

...of 'Lee'rical Wordplay...

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

A Charming Notion (Part I)

Hello All!

It's a lovely day to learn about musical theatre writing, isn't it?  It's warm out.  The sky is clear, as I'd imagine it is in most musicals (save Sweeney Todd, or Assassins...Company...ok, let's just avoid Sondheim if we want sunny...) and I'm very excited to discuss with you a particular song type that has led to a bit of controversy...

The Charm Song.

"But Lee, I know what a charm song is!  It's a song in a musical that's fun, likable...charming."

It's true that these are characteristics that are often attributed to Charm Songs, but they are not absolutely necessary.  (It's pretty much like the whole 'a square is a parallelogram, but a parallelogram is not necessarily a square' kinda thing.)

There are many definitions floating around on these here interwebz.  John Kenrick, of Musicals101.com, stated in the past that a Charm Song is used by the main character to beguile the audience.  Meanwhile, Adam Steinberg presents a few 'charm songs' in his song list, defining them as (paraphrased)  'I Am/I Want' songs that have a touch of comedy, (though not as much as a 'Comedy' song), used to define character for our principals, or even a group.  Both of these sites have some very insightful viewpoints, and/or present some fun material...however, I happen to differ in my opinion of the purpose of a Charm Song.

Sure, Charm Songs are often beguiling.  Absolutely, they can assist in informing our audience about the characters.  But why are we defining a type of song with other song types?  To say "Charm Songs are often 'I Want' or 'I Am' songs for the main characters..." gives the impression that we don't really NEED a new category.  If a song is showing us the desires of the character, well then it's NOT a Charm Song...it's doing the work of an 'I Want' song.  (By the way, the terms 'I Want'/'I Am' Song seem to be a bit outdated at this point as well.  More to come on that when we get there...)

And to say that a Charm Song is used to "...beguile the audience..." gives us the impression that it's only purpose is to win over the crowd.  I don't believe this to be the case, either.

"So then, what is a Charm Song?  What is it's function?"

After hearing and reading many different takes on the matter, I find myself most in agreement with the definition put forth, originally by Lehman Engel, and perpetuated by the moderators of the BMI Musical Theatre workshop.  Their definition, if I may paraphrase, is that a Charm Song is a song in a musical that intentionally does not directly progress the plot for the main character(s).

Let me explain...in American musical theatre, the overall attempt has been to assist the movement of the story through the music.  This means that each song should be necessary for the progression of plot, circumstances, and character, and those singing should end up in a different place (mentally or emotionally) than they were when the tune began.  A song can be used to come to a decision.  To relay character/events.  To build relationships...etc...  Well, a charm song intentionally breaks that rule.

Why?  For what purpose would we want a song that is not helping to further the story? 

Well, a Charm Song is a break.  It's there to give the audience a bit of a mental pause from the story, to allow them to not have to work so hard piecing things together for a bit.  So...did we just see/hear 45 minutes of introduction and exposition...well, that seems like a good time for a Charm Song!  Has something devastating just happened?  Let's cut the tension with a Charm Song.  (They're better than a Ginsu!)  If the whole musical is a feast, the Charm Song is the palate-cleansing sorbet between courses, helping to purge away the strong flavors of the previous course, so that the next can be enjoyed as fully.

As an added bonus, a Charm Song can often do a little something extra.  As we are taking a break from progressing the story, and enjoying a moment that is usually a bit 'lighter' and less specific to one character, the Charm Song can often be used to allude to an all-encompassing theme that fits the musical.  So, rather than tell us about the moment we are seeing, it may help give us an idea about the overall argument of the piece.  Neat, huh?


Examples of wonderfully placed/executed Charm Songs:

-  "Guys & Dolls"  (from Guys & Dolls)  At the moment when all the main characters have been introduced, and all the circumstances have been set up, Nicely and Benny give us an idea about themselves, and the world of the show in this 'charming' and upbeat number.  They sing about how every man has his weakness, and it is usually going to be for a woman.  The lyrics not only give us a sense of the era we are in, and how the characters speak/think, but it also hints at events to come in both the relationship between Sky and Sarah, as well as the long overcooked relationship between Nathan and Adelaide.  The song is about men as a whole, but encompasses the journey of our two leads perfectly.

-  "I Feel Pretty"  (from West Side Story)  There's something so great about having a character sing such a lilting, vapid/happy tune just after a murder has been committed.  It gives the audience a breather from the tense events that just occurred, but simultaneously breaks their hearts, as they know that she will learn of the death of her brother soon.  Incidentally, before the act break we saw Tony run after the murder, so this light-hearted song seemingly contradicts the previous scene, and catches us a bit off guard at the top of act two.

-  "Turn It Off"  (from The Book of Mormon)  Once again, we have a song that comes once the characters have been defined and their circumstances laid out.  Upon first encounter, this seems like it was written specifically as an excuse to have a group of Mormon boys tap dancing.  (Quite a sight...)  But when you take the time to analyze it, there is something special about this song.  It not only serves to smooth out the awkwardness (and perhaps horrific shock) that the audience just experienced as they listened to a bunch of Africans cursing God...it also tells us something about the writers' intention with the show.  These boys are turning a blind eye to any part of themselves that is considered uncouth by their religion.  The insinuation is that the facets of ones personality are easy to brush aside, or decide to change.  By poking fun with characters that are not our main focus, we can laugh at the absurdity of this aspect of organized religion.  This also gives a hint as to what conclusion our principal characters will eventually come to...that organized religion can and should be what you need it to be, not the other way around.


So, I'm not saying that anyone is wrong.  It just seems that if we are going to have a different category of song, we should be specific with what the category is, how it's different, and why it exists!

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!

There are a million and one examples of Charm Songs out there that I could have chosen.  I bet you know some, too!

Leave a comment below, with the title of a Charm Song (and the show it's from), then tell us why you believe it should be considered as such!

Who knows, maybe you'll even change my definition!

Until next time...

-Lee

...of 'Lee'rical Wordplay...

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

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...

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!

---------------------------------------------------------------------------------------------------------------------

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...

Not Mine, But...

One of My Favorite Lyrics...EVER.

Written by Leslie Bricusse and Anthony Newley.  Video courtesy of Jason Griffith.

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.

What I Learned...

Hello all,

So, if you've been following, then you are already aware of the challenge I presented myself, and the fact that every day for the month of May I finished a song's worth of lyrics as a means of forcing creativity.  I would like to thank you for taking this journey with me.  As I said, it ain't all gold, but I am very proud to say that I am happy with the outcome of the month, and there are some real gems in there that I fully plan on working with/editing/elaborating on...

Throughout this process, there are a few things that I learned:

   1.  It's hard to write a song a day!  I found that after a few days, my mind started regressing to things I had already written, or melodic lines/song styles/structures that I had just used.  I suppose this isn't a bad thing, but I definitely wanted to really test myself and try to create something brand new everyday, and it became difficult once I had drained the most prominent ideas.

   2.  It's hard to create something brand new!  Each time I was looking to do a song, I found that there was almost always a song I already knew of (usually by someone else) that my mind used as a frame of reference.  I don't think I should be bothered by this.  Everyone hears and processes things a bit differently, so I'm sure that my outcome will either end up sounding nothing like the potential 'source' material, or it will sound too much like it, but spark a change.  And at that point, at least I'll have the lyrics started!

   3.  No matter what the topic of the song, it's all based in two main ideas...'Hope' and 'Fear'.  I had learned this concept in college, but it becomes far more apparent when you are on the writer's side.  Every song is delivered to it's audience by a character, and that character has to want something.  The songs that I feel came out best from this experiment are the ones in which the character is clearly yearning for something, or making a decision...based on their hopes or their fears.

   4.  What's the story, Morning glory?!  Every song not only needs a character to relay it, but it also is immensely beneficial to know/build surrounding circumstances.  The more specific the story is in your head, the more specific the character/lyric can be, and through that specificity you allow a wider audience to connect with your work.  "Universality through Specificity."  (I heard Stephen Schwartz mention something about this at a reading series for which he was on a panel.  So true.)

   5.  Music is vital!  I appreciate those of you who've been following, or checking the site out sporadically, but I understand how difficult it is to follow a page of JUST lyrics.  It is not always easy to decipher the rhythm, or the rhyme scheme, and it is certainly not easy to figure out what melody the writer has in mind.  For my next challenge, I am working out a remedy to this.

   6.  Most importantly:  While I am glad that I did this, I found that by the end of writing each song, I had little creative energy left over to work on other projects.  This may have been different if I wasn't working a day job during most of this process, but I think that the majority of my focus went to this.  I'm looking forward to getting back to my musical, where I already have a set idea as to style/focus/story/character, and can really hone in on cleaning that up with my newfound knowledge.


As I said before, thank you so much for joining me for this journey.  I am planning to do another self-challenge soon, that will probably allow me a bit more time to create, but will incorporate scan, music...etc.  I'm very excited!

If you are just now reading this, you can find out what my SOTD challenge was all about by reading this.  I would be more than happy, in fact appreciative, to have you be my guest, and browse through the songs from the month.  Remember, each of them was written in a 24 hour period, and I advise starting from the beginning, 'I Turn The Page', and going through from there. Please feel free to comment, or send me any thoughts you may have, but please keep it constructive.  This has been a learning process, and I want to keep the experience positive.  In fact, if you like it, please click 'Follow' on the upper right corner of the blog.  It won't send anything you're way, but it'll make me look cooler!

Thanks again, and I'll be back soon with more 'Lee'rical Wordplay!

~Lee