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Product Description
Product Description
This guide to the modern musical covers the entire process of creating a show, from finding and working out the initial idea, through to the ways in which writers can market a finished show and get it produced. For the interested theatregoer and writers, it is written in a lively and user-friendly style and illustrated with numerous examples.
About the Author
STEVEN L. ROSENHAUS has written music and/or lyrics for several musicals, as well as incidental music for plays, film scores and commercials. His concert works in a variety of genres have been performed throughout the United States, Canada and Europe. He has over a hundred original works and arrangements in print, and several works recorded on compact discs. He serves as Adjunct Assistant Professor of Composition at New York University, USA, teaching both classical and musical theatre composition, and also teaches song writing and other subjects at Nassau Community College.
ALLEN COHEN has written the scores for several musicals, four films and two off-Broadway plays. He has conducted, or written dance music for, six musicals on Broadway and many shows off-Broadway and around the country. His concert music has been performed throughout the world and recorded on several compact discs. Currently Assistant Professor of Music at Fairleigh Dickinson University, USA, he is a former member of the BMI and ASCAP Musical Theatre Workshops. He is the author of Howard Hanson in Theory and Practice and the children's book That's So Funny I Forgot to Laugh!, which has sold more than half a million copies.
ALLEN COHEN has written the scores for several musicals, four films and two off-Broadway plays. He has conducted, or written dance music for, six musicals on Broadway and many shows off-Broadway and around the country. His concert music has been performed throughout the world and recorded on several compact discs. Currently Assistant Professor of Music at Fairleigh Dickinson University, USA, he is a former member of the BMI and ASCAP Musical Theatre Workshops. He is the author of Howard Hanson in Theory and Practice and the children's book That's So Funny I Forgot to Laugh!, which has sold more than half a million copies.
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11 reviews
21 of 21 people found the following review helpful
The Best Book on the Subject
12 Feb 2007
Format:Hardcover
I've read many of the other books about writing musical theatre, and this is hands-down the best one. Not only is it thorough and informative, but it is the only book to my knowledge that has in-depth advice about the actual music element. This is an essential read for anyone writing a musical, or anyone who is curious about how they are constructed.
This book is divided in sections, and explains more about the actual creative process than any other similar book. The authors provide helpful examples and honest advice, and they are not at all about self-promotion like the other leading book on the subject. This book will be as helpful to experienced writers as it will be to novices.
This book is divided in sections, and explains more about the actual creative process than any other similar book. The authors provide helpful examples and honest advice, and they are not at all about self-promotion like the other leading book on the subject. This book will be as helpful to experienced writers as it will be to novices.
13 of 13 people found the following review helpful
Bravo!
31 Mar 2006
Format:Hardcover
No matter what motivates your interest in musical theater, you should own this book. Each of the authors is a rare blend: a successful artist who can teach effectively about his craft.
One way to think of this book is "the theory and practice of musical theater." The first ("theory") part of the book describes the elements comprising musical theater: staging, stories and music. It also provides a history of American musical theater, showing how these elements evolved to their
present state. Every important point is illustrated with an example. More importantly, each example is accompanied with a well-reasoned explanation of why it illustrates the topic under
discussion. Nothing drags in this section: the years of teaching experience allow the authors to know exactly the right amount of detail to present.
What makes "Writing Musical Theater" unique is the "practice" section, in which two stories are adapted into the musical theater form. The reader can follow the authors' creative efforts, from selecting a story to matching words with music. Even if you have no aspirations to write your own musical, this
section will increase your appreciation for any works in this genre (old or new). Let me emphasize that this section is accessible to both musician and non-musician.
A substantial and well-commented bibliography allows the reader to delve into any of the topics to any desired level of detail. And for aspiring creators, there are many practical suggestions about taking a completed work to its first productions
If this were a musical instead of a book, the ads would read "Two great teachers show you how good musical theater is created...don't miss it." I'm sure "Writing Musical Theater" will have a long run.
One way to think of this book is "the theory and practice of musical theater." The first ("theory") part of the book describes the elements comprising musical theater: staging, stories and music. It also provides a history of American musical theater, showing how these elements evolved to their
present state. Every important point is illustrated with an example. More importantly, each example is accompanied with a well-reasoned explanation of why it illustrates the topic under
discussion. Nothing drags in this section: the years of teaching experience allow the authors to know exactly the right amount of detail to present.
What makes "Writing Musical Theater" unique is the "practice" section, in which two stories are adapted into the musical theater form. The reader can follow the authors' creative efforts, from selecting a story to matching words with music. Even if you have no aspirations to write your own musical, this
section will increase your appreciation for any works in this genre (old or new). Let me emphasize that this section is accessible to both musician and non-musician.
A substantial and well-commented bibliography allows the reader to delve into any of the topics to any desired level of detail. And for aspiring creators, there are many practical suggestions about taking a completed work to its first productions
If this were a musical instead of a book, the ads would read "Two great teachers show you how good musical theater is created...don't miss it." I'm sure "Writing Musical Theater" will have a long run.
17 of 19 people found the following review helpful
A very good place to start!
2 May 2006
Format:Hardcover
There is no book available now that tells you everything you need to know to write a musical, but there are several out now that can collectively give one a very good idea of how to go about it. Latest in the field is WRITING MUSICAL THEATER by Allen Cohen and Steven L. Rosenhaus. Rosenhaus and Cohen have written a very useful book that can at least get you started. As the authors themselves say, there is no better way to learn than to actually do it and to keep doing it. Other books cover some of the same material, but where this book really has something new to say is in the section dealing with the music.
The most daring section of the book (and perhaps the most useful) is the part where they actually set out to write two new shows for illustrative purposes. One is an adaptation; the other is an original. Their goal was not to create great works of art, but to show how to go about writing a musical. Neither of their examples is going to set the world on fire. In the real world they would in all likelihood be flops, but they brilliantly illustrate the practical problems that arise and some possible solutions. (Bravi, guys, and thanks.)
My only real quibbles with the book are in the bibliography where they list A CLASS ACT, CLOSER THAN EVER and STARTING HERE, STARTING NOW as important musicals. (I would love to know by what logic they arrived at those pronouncements.) They also list Johnny Mercer as an important lyricist of theatre music (none of his really good work was written for the theatre and much of his reputation is a result of self-promotion through his ownership of Capitol Records) and Dorothy Fields is not mentioned. Nor do they place Sheila Davis's brilliant THE CRAFT OF LYRIC WRITING on the recommended reading list. (I consider it The Bible of lyric writing!) They do not place Bernard Grebanier's PLAYWRITING on that list either. (There is no better analysis of what makes a plot anywhere.) But despite these quibbles, I would wholeheartedly recommend this book to the aspiring musical writer. It is an excellent place to start.
The most daring section of the book (and perhaps the most useful) is the part where they actually set out to write two new shows for illustrative purposes. One is an adaptation; the other is an original. Their goal was not to create great works of art, but to show how to go about writing a musical. Neither of their examples is going to set the world on fire. In the real world they would in all likelihood be flops, but they brilliantly illustrate the practical problems that arise and some possible solutions. (Bravi, guys, and thanks.)
My only real quibbles with the book are in the bibliography where they list A CLASS ACT, CLOSER THAN EVER and STARTING HERE, STARTING NOW as important musicals. (I would love to know by what logic they arrived at those pronouncements.) They also list Johnny Mercer as an important lyricist of theatre music (none of his really good work was written for the theatre and much of his reputation is a result of self-promotion through his ownership of Capitol Records) and Dorothy Fields is not mentioned. Nor do they place Sheila Davis's brilliant THE CRAFT OF LYRIC WRITING on the recommended reading list. (I consider it The Bible of lyric writing!) They do not place Bernard Grebanier's PLAYWRITING on that list either. (There is no better analysis of what makes a plot anywhere.) But despite these quibbles, I would wholeheartedly recommend this book to the aspiring musical writer. It is an excellent place to start.
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