ConradAskland.com

On Writing, Editing and Revisions

askland — Fri, 17 May 2013 17:04:18 +0000

At present I am totally immersed in the writing, editing and revision process for several musical theater shows. It is exciting, depressing, grueling, tedious and ultimately the most fulfilling of all possible worlds for me. Several other writers have bared their souls on the writing process so I thought I’d share a little of my own experience.

VISUALIZING

Recently I had a director want me to write a duet for one of my productions, but it didn’t work because of a technical staging problem. The director said, “Just write it and I’ll make it happen.” For me, it’s very difficult to write a song unless I can see what is happening on stage in my mind’s eye. The music in this way is “organic” (another lesson learned from a wonderful composer friend), and there is purpose to the piece.

I have a lengthy background in learning how to visualize. Some of the lessons very good, and in retrospect a lot of lessons where I wish I could have that time back in my life. But in essence it’s this simple: See the picture and then write what you see.

I suppose that is the key: Elements must have purpose. It can sometimes be about forward motion and sometimes reflective, but it must have a definite need to be there. From this purpose, the songs and dialogue flow. I’ve found that when my purpose is off-track, that these are the times that are not engaging to the audience.

The reason a piece lacks purpose is often due to the writer saying “yes” when their inner voice says “no”. Examples would be, “Oh, you’re supposed to do this here”, or someone not in tune with the motivation and direction of your script giving ideas that are fun for the moment, but don’t serve the overall story.

THE INNER AND OUTER WORLD

I really dislike writing. I’m certainly not alone in that sentiment. The final product and performance is what drives me through the pain and agony of writing. I always try to visualize the final product. If the end product visualization is engaging then that excitement and adrenalin overcomes the painful process of writing. If the visualization and music or dialogue does not create strong engagement, then it is not worth writing in that way.

Most writers, I think, can relate to the inner and outer worlds. The outer world is when you present your work. It’s out there, it’s circulating, people are talking and giving you pats on the back or criticizing you. And you just take it all in.

Then there’s the inner world, that world of creation where you are all alone. You are in the depths of fleshing your ideas and bringing characters to life. Sometimes you feel in control and that the characters wield to your desires. In other moments you feel the characters are resisting you, laughing at you, forcing you to their own wants and desires. It is excruciating. I have never had this discussion with another writer. Maybe it’s something you don’t talk about in polite conversation. The only reason I know that so many share this agony is from reading thoughts of other writers online. And then I was so relieved to find out that this was not only my experience.

So what’s the answer? At this point, I think the answer is that “this is what writing is.” It is facing your demons, confronting your own lameness and stupidity, challenging your thoughts and baring your inner soul, and going through the dark night of the soul alone, filled with imaginary characters laughing and taunting you.

EDITING IS EASY

Recently a writer friend told me, “Editing a script is easy, writing music is the hard part.” I was very surprised by that comment. I don’t find any of it easy. I find it tedious and grueling. It’s possible I’m doing something wrong, but it’s one thing to visualize “the boy falls in love with the girl and they sing a song” and quite another to make all that happen well with music and dialogue. To do that while not boring the audience.

So you write that out and it seems pretty good. The next day you read it through and it feels very derived, or doesn’t flow, or bores you. So you rewrite it and put in a new melody. And the next week you listen to it and it falls flat to your ears. You throw it out and start over. And that is what is grueling and tedious. The first draft is fun, it’s perfecting it that drives you to the private struggles with your characters.

VULNERABILITY AND A SHIELD OF ARMOR

It takes a certain bull headed person to finish a project through, but to dig deep into your well of ideas it takes a certain vulnerability. While creating new works, it doesn’t serve the writer to put on a shield of armor and proclaim: ”This is awesome”. The proclamation does not make it true. Instead, bare your soul and vulnerabilities during the creation process and always ask, “How can this be stronger, more engaging, or more fun?” And you can’t really ask those questions while being boastful of your genius. Wallow in your stupidity, your frailness, your lameness, your inadequate self – and express through that.

Then when in public, put on your shield of armor and stand by your work. As of this moment, I really think this balance is paramount to the creative process, and to seeing your works through in the real world.

THINGS TO CONSIDER

For those that like condensed lists, here is a list of elements that I currently and strongly believe are important to the creative writing and musical theater creation process:

INNER EMOTIONS FUEL OUTWARD ACTIONS – We are engaged by basic human transformation and the hero’s journey. All outward actions are driven by internal emotions and needs. The actions are what an audience sees, but what moves an audience is not the outward action, it’s the underlying emotional need and/or transformation.
SONGS NEED TO FEED THE SPECIFIC MOMENT – If you can take an unused song from one musical and insert it into another musical, then the song was not written specifically enough for that moment in the script. Musical theater songs are different from radio songs in that they rely on the vocal and words to either propel the plot forward or add understanding to the current plot point or character. Specifically for book based musicals, a crossover song that is meant to serve the plot and also potential radio play is not focused enough for it’s place in the plot. Of course there are exceptions to this, and it’s reasonable that a musical can have a couple songs intended for radio play, but all of the songs cannot be this way if they also want to serve the story and keep the forward script motion moving.
EXPRESS YOUR VIEWS – In an earlier work, I spent a great deal of time trying to make sure that my own personal views were not expressed in the story. My belief was that my own views had no place. I have discovered that to be wrong. It is the expressing of our views that automatically gives our writing it’s own unique vision and pulse. By expressing our personal views in our writing, there is an inherent uniqueness that no one else will be able to duplicate exactly. In music, Sondheim said to the effect that you can try to duplicate someone else’s music style, but in the end your own style will creep out and overtake the writing. So this brings us back to being vulnerable. If you are vulnerable and open in the creation process, and express your personal views, then your work will have a unique quality to the extent that you can bare and express yourself. This doesn’t guarantee the public will like it, but we have no guarantees of that with any project.

Let me know what you think, what you agree and disagree with. Thanks!

Evermore – a new science fiction rock musical

askland — Thu, 09 May 2013 07:26:43 +0000

EVERMORE – a new science fiction rock musical with stage play by Mike Rostron and songs by Mike Rostron, Jim Nelson and Lesley Rostron. Directed by Christopher Key and inspired by the novel “Engine Summer” by John Crowley.

SYNOPSIS:

A thousand years in the future, small bands of people live in the ruins of a forgotten civilization.Rush That Speaks, a young man of Little Belaire, falls in love with a girl of Dr. Boot’s List, but the call of clan identity is stronger than love and Once A Day returns to her own people. Rush meets a messenger from The City In The Sky who offers him a compelling gift.

The story of Rush That Speaks and his strange destiny is told in dialog, song, and dance with a large cast of characters and the backing of a full rock ensemble.

MY THOUGHTS:

I attended the dress rehearsal on May 8, 2013 at the Lincoln Theater in Mount Vernon, WA. Official opening is May 9.

The band was a four piece: two guitars, bass and drums. I enjoyed the live sound of the band. I thought it was full, edgy and added a lot of energy to the show. I would place a fair bet that the musicians were rock and/or club musicians, not musical theater folk. And that was a real benefit in this case because the music is edgy and leans more towards concert rock than traditional “Sondheim” style musical theater.

After the show people asked me what it was like and my best reference that came to mind was the musical “HAIR”. The similarity would be that there were set pieces of dialogue exposition and then it would turn to a lengthy rock song that reflected on the previous dialogue. Often times the pieces were accompanied with cast members dancing on stage either in a rock or interpretive style. So that’s what led me to the “Hair” comparison. Even though it’s a sci-fi musical, the feel of the music had freedom and expression to it that had, to my ears and eyes, a 60′s freedom sort of vibe.

The male character named “Rush That Speaks” had a wonderful clear tone in the high baritone range. Not piercing, not too forced. He had great control and knew when to let the flood gates open with his bravado. The female character “Once a Day” had a commanding, slightly ingenue, presence on stage coupled also with clear and focused vocal technique. I had read somewhere that there was a “Romeo and Juliet” element to their relationship and indeed there is. It was interesting to think of the Capulets and Montagues during certain scenes, but I don’t want to give any spoilers.

The “Angel” character had a surprisingly beautiful voice as did many others, and I have to apologize that I don’t have everyone’s names because there were no programs for dress rehearsal. But you know who you are!

It is no small feat to bring original productions to the stage. It takes bravery and the tenacity of a bulldog on a postman’s leg. Without the creation of new works theater is dead. So congratulations to the cast and crew of Evermore of bringing a new musical theater production to the stage.

Free Key Productions Present:

A Science Fiction Rock Musical

Stage Play by Mike Rostron

Songs by Mike Rostron, Jim Nelson & Lesley Rostron

Inspired by the novel Engine Summer by John Crowley

Directed by Christopher Key

Music Direction by John French

For more info visit http://freekeyproductions.com

Auditions for PAN the musical – May 2013

askland — Thu, 02 May 2013 20:01:37 +0000

AUDITION NOTICE – Auditions for PAN the musical will be Tues. May 28 and Wed. May 29, 2013 from 6-9pm at the Lincoln Theater in Mount Vernon, WA. This is a new family-friendly creation by Conrad Askland based on JM Barrie’s 1911 book “Peter and Wendy”. Join Peter Pan, Hook, Wendy and the Lost Boys on their adventures in Neverland. The classic story for a new generation.

For more info and to schedule auditions visit the Peter Pan musical website at PanMusical.com

Witches! the Musical – 2013 Trailer

askland — Thu, 02 May 2013 19:54:32 +0000

2013 trailer for my show Witches! the Musical. This trailer contains clips from the October 2012 community theater premiere at the Lincoln Theater in Mount Vernon, WA. The next run of this Salem musical will be June 2014 at the Whitby Courthouse Theater in Ontario, Canada.

Thank you so much for the awesome support of the Theater Arts Guild, cast, crew and local audiences. It was a very exciting and fulfilling run for us and your feedback was very generous in helping us bring the show to it’s next level.

Witches! Video Showing April 30, 2013 in Mount Vernon, WA

askland — Thu, 25 Apr 2013 15:46:36 +0000

On Tuesday, April 30, 2013 at 7pm the Historic Lincoln Theater in Mount Vernon, WA will host a free public video showing of Witches! the Musical recorded during it’s October 2012 premiere run. This is a fundraising event for the Lincoln Theater Digital Futures Initiative. The event will include presentations by Theater Arts Guild (TAG) and members of the creation team.

Witches! is a new musical about the 1692 Salem Witch Trials. The story contains many of the historical people involved in the trials including Bridget Bishop, Dr. William Griggs, Abigail Williams, Rev. Samuel Parris, Giles Corey and the Circle Girls. Visit the show website: Salem Witch Trial Musical.

The Producers – April 6-20, 2013 at McIntyre Hall, Mount Vernon, WA

askland — Wed, 24 Apr 2013 16:36:57 +0000

The Producers at McIntyre Hall in Mount Vernon, WA from April 6-20, 2013. Presented by Theater Arts Guild of Skagit County, WA. A musical theater comedy by Mel Brooks following the antics and schemes of a broadway producer.

I had a lot of fun playing keyboards in the pit for this show, lots of fun sound effects and synth parts to play. Thank you to TAG and Dave Cross for inviting me to be part of this production. A truly stellar cast.

Wikipedia: The Producers play synopsis

CREW:

Director – Trey Hatch
Producers – Andrew Azure and Ria Peth Vanderpool
Choreographers – Chris Tuohy and Rebecca Launius-Brown
Music Director – Lynette McCormack
Orchestra Conductor – Dave Cross
Stage Manager – Lauren Hedlin
Assistante Stage Manager – Sarah Bates
Scenic Designer – Tim Brown
Set Artist – Don Smith
Set Painters – Vicky Fishbach, Tim Brown, Rebecca Launius-Brow, Blake Begin
Sign Creation – Malcolm and Paula Taylor
Costumer – Cally Holden
Costume Assistants – Clarence Holden, Gale Cline, Melissa McPhaden, Nancy High, Kathy Gildness, Gussie and Gerties, Rebecca Launius-Brown, Char McRae
Lighting Designer – Michael Nicholson
Lighting Technician – Mike Stephens
Sound Technician – Kyle Blevins
Rehearsal Pianists – Ruth Backland, Lynn Rittenhouse
Poster Design – Andrew Azure
Program Design – Melinda Elliott
Ad Sales – Susan Watson
Reader Boards – Susan Watson
Head Shot Photographer – Lindsey Bowen
Hair – Tanya Larsen, Hortensia Zepeda, Katie Tully
Construction Lead – Robin Begin
Construction Crew – Tim Brown, Heath Bailey
Spot Crew – Cameron Craig, Nick Patterson
Fly Rail Captain – Roger Ragusa
Fly Crew – Glenn Huschka, Leif Barem, Jason Leander, Alex Hollingsworth
Properties Manager – Carol Garman
Prop Team – Carole Lindberry, Amanda Curtis, Ria Vanderpool, Jerome Chandler

CAST

The Usherettes – Diana Becerra and Susie Pollino
Max Bialystock – Mike Jenkins
Leo Bloom – Jeff Bradley
Hold-me Touch-me – Carolyn Travis
Mr. Marks – Lonny Graff
Franz Liebkind – Ron Wohl
Carmen Ghia – Peter Grace
Roger De Bris – Trey Hatch
Bryan – Keiran Faley
Kevin – John Roberson
Scott – Mike Latham
Shirley – Nancy High
Ulla – Rebecca Launius Brown
Lick-me Bite-me – Kelly Bohon
Kiss-me Feel-me – Jane Skinner
Jack Lepidus – August Wolff
Donal Dinsmore – Patriq Holahan
Jason Green – Brian Ault
Lead Tenor – Kieran Faley
Sergeant – Scott Andrews
O’Riley – Patriq Holahan
O’Houlihan – Mike Antoine
Guard – Lonny Graff
Bailiff – Lonny Graff
Judge – Steve Denzel
Foreman of Jury – Scott Andrews

ORCHESTRA

Piccolo, Flute – Gena Campbell
Eb Clarinet, Clarinet, Bass Clarinet – Michelle Hanna
Clarinet – Elizabeth Brooks
Flute, Clarinet, Sax – Christian Volkman
Oboe, English Horn – Chris Dirth
Bassoon, Sax, Clarinet – Jerry Schreuder
French Horn – Amanda McDaniel
Trumpet 1 – Cindy Luna
Trumpet 2 – Stan Relyea
Trombone 1 – Bob Harper
Trombone 2 – Zack Smith
Trombone 3 – John Boblett
Drums – Mary Ellen Hodges
Percussion – Pam Moser
Keyboard – Conrad Askland
Violin 1 – Jenny Bergeron
Violin 2 – Corey Henderson
Violin 2 – Noam Moore
Cello – Laura Henderson
Bass – Kelly Siebecke

Steel Magnolias – ACT Theater Anacortes, WA – February 2013

askland — Mon, 22 Apr 2013 22:50:19 +0000

Steel Magnolias, the 1987 stage play by Robert Harling. Presented by ACT Theater in Anacortes, WA January 25 thru February 16, 2013.

A great presentation by ACT Theater of Anacortes. They gave fair warning to grab tissues at intermission in preparation for Act Two. Many around me were, as promised, “crying and then laughing through tears”.

All of the actresses were phenomenal in their respective dramatic and comedic moments. Carolyn Travis as M’Lynn had the juicy script lines to create the “laughter through tears” and the cast was very strong in supporting those moments.

CAST

Anelle – Tiana Smith
Truvy – Carla Hurst
Clairee – Karen McCallum
Shelby – Chloe Roberts
M’Lynn – Carolyn Travis
Ouiser – Valerie Thomas
Cameo Cross Overs: Judy Crane, Willow McLaughlin, Melissa Bridges and Marilyn Pinquoch

CREW

Director – Judy Hendrix
Assistant Director – Susan Myers Buszta
Production/Stage Manager – Mary Settera Hendrix
Set Design/Construction Leader – Billy Hendrix
Set Dressing – Jackie Anderson
Set Painting – Malcolm Taylor, Nate Taylor, Jackie Anderson, Lora Haversack, Chris Nickerson, Russ Haversack, Raido McComas
Set Construction – Billy Hendrix, Bruce Rolfe, Bud Anderson, Tim Brown
Poster – Breanna Savage
Costumes/Props – Cast and Crew
Light Design – Tim Brown
Light Technician – Nikolas Patterson
Photography – Paula Taylor, Malcolm Taylor
Sound Effects – Willow McLaughlin
Front of House – Barbara Gully
Dinner Theater – Sandy Childs, Rick Sohn, Vic Childs, Carol Lee Olsen, Les Olsen, Darla Pyke, Cheryl Reid

Wikipedia – Steel Magnolias

Entertainment News NW Magazine October 2012 Issue – Witches! the Musical

askland — Thu, 27 Sep 2012 07:15:48 +0000

Entertainment News Northwest Magazine October 2012 issue. Cover photo of Witches! the Musical. Photo by Lindsey Bowen. Visit the Entertainment News NW website at: http://www.ennw.info and read their article on Witches! the Musical by Laurel Larsen here: http://www.ennw.info/wp-content/uploads/2008/10/October-2012.pdf

World Premiere Oct. 19 – Nov. 3, 2012 at the Historic Lincoln Theater in Mount Vernon, WA. Presented by Theater Arts Guild. Directed by Jane Skinner. Book, music and lyrics by Conrad Askland. For tickets go to: http://www.lincolntheatre.org/performance/witches-musical

Witches! the Musical: Oct. 19 – Nov. 3, 2012 – World Premiere

askland — Thu, 20 Sep 2012 19:51:07 +0000

Witches! the Musical World Premiere October 19 – November 3, 2012 at the Historic Lincoln Theatre in Mount Vernon, WA – USA. LincolnTheatre.org

SHOWTIMES:

Friday, Oct 19, 7:30 pm
Saturday, Oct 20, 7:30 pm
Thursday, Oct 25, 7:30 pm
Friday, Oct 26, 7:30 pm
Saturday, Oct 27, 7:30 pm
Sunday, Oct 28, 2:00 pm
Wednesday, Oct 31, 7:30 pm
Friday, Nov 2, 7:30 pm
Saturday, Nov 3, 7:30 pm

Reserved Seating Tickets: $10 – $24
Thursday, October 25th is Bargain Night! All seats $10 – Festival Seating – available at the door only beginning two hours prior to curtain. - Buy Tickets Now - Official Website for Witches! the Musical

Theater Arts Guild presents Witches! the Musical, a Halloween world premiere production based on historical events of the 1692 Salem Witch Trials. Famous historical characters come to life with a cast over 30 strong as Witches! the Musical portrays the dark events of the Salem Witch Trials with a spine tingling score of rock, hip hop, classical and 20th century music styles mixed with satire, fantasy, fact and fiction.

Witches! the Musical cast photo by Lindsey Bowen

Directed by Jane Skinner with book, music and lyrics by Conrad Askland. Rated PG-13 for content. More info at www.WitchesMusical.com

http://www.youtube.com/watch?v=k40rJSORIic

Witches! the Musical – Writer Interview

askland — Sat, 08 Sep 2012 00:14:12 +0000

September 7, 2012 – Mount Vernon, WA

Interview with Conrad Askland – writer of “Witches! the Musical”

Premiere Info

World Premiere Oct. 19-Nov. 3, 2012 at the Historic Lincoln Theater - Mount Vernon, WA
Produced by Theater Arts Guild of Skagit County
Directed by Jane Skinner. Book, music and lyrics by Conrad Askland.
Official Witches! the Musical website at http://www.WitchesMusical.com

Why did you choose the subject of the 1692 Salem Witch Trials?

Originally I had picked a different subject. But while researching that other project I ran into a major problem with the plot that ruined the project for me. That plot problem became my new focus for a different project which I started working on, and may be my next project. During that process I realized it was just too big to attack for my first full length musical. So I started over looking specifically for an existing story, a topic I felt hadn’t been done well as musical theater in the past, and that incorporated children.

I don’t remember specifically how I ended up on the topic of the 1692 Salem Witch Trials – but it had everything I was looking for by the time I ran across it. The story existed and had some historical documentation. In looking at other musical productions on this topic I felt I could do a more engaging treatment. And the story had all those Circle Girls, so lots of girl characters and no boys. I loved that because if you’ve ever done auditions for community theater, you know that dozens of middle school girls show up for auditions and barely any boys. I remembered in the past being MD for Bye Bye Birdie and how difficult it was to get a male teen chorus together. So 1692 Salem had all the elements I was looking for.

A lot of my criteria was based on advice from Stephen Sondheim. I’ve spent a great deal of time reading his books, reading and watching his interviews. I chose him as a model because for a lot of his shows he does book, music and lyrics without a collaborator.

What is your musical and theater background?

My personal website is at http://www.ConradAskland.com which has a curriculum vitae. As a boy soprano, starting in fourth grade, I sang with the Northwest Boychoir in Seattle, WA. That led to singing with Seattle Opera in Tosca, Carmen, Boris Godunov and the lead role in Amahl in the Night Visitors. That was a powerful experience being so young and learning all the operatic, Baroque and Early Music.

As a child I was in many plays as an actor but really not that talented. I’ve spent more time on music and writing so I’m more proficient at that. In high school I played French Horn in the concert band and bass guitar in the jazz ensemble. That was a great experience for hearing orchestrations and learning chord movement.

I took music courses at Pacific Lutheran University, University of Miami, UCLA and most recently with Berklee School of Music online but never completed a degree. That’s all another story but I’ll spare you.

My first professional steady gig was playing piano at Nordstrom in Bellevue, WA at the mall. I was 18. In my early 20′s I moved to Southern California where I taught piano, ran a recording studio and worked as a freelance arranger and keyboardist. I played the country music circuit in So. Cal and Las Vegas for many years. Some of it was fun, but I played a lot of trucker bars for fifty dollars a night.

The recording studio was a great experience because I was always arranging in new styles for various clients. A good portion of the clients had me write songs for them too. I would write the songs for free if they paid for recording time. Most of the time it was collaboration. Clients would bring in songs that had lyric or melodic problems and I would improve the songs for them.

In my early twenties I did music for Little Shop of Horrors and Funny Thing Happened on the Way to the Forum. On Forum I was MD and the first rehearsal my orchestra didn’t show up, so I sequenced the entire show on an old Roland W-30 with external tone generators. This was back in like 1991. There was a full orchestra pit and just me with a 30 space rack full of gear and a little keyboard. I worked round the clock to pull that off and made like $500 for the whole run. So I focused on recording and Vegas type shows after that.

In 2006 I got a call from Theater Arts Guild of Skagit that they needed a conductor for Elton John’s AIDA. I was between gigs so I did that and then conducted Annie Get Your Gun, Brigadoon, High School Musical, Seussical, Bye Bye Birdie, Rocky Horror Show and sound design for Peter Pan and Bram Stoker’s Dracula.

In 2008 I joined Cirque Du Soleil on their show in Macau, China until the show closed in February, 2012. So from 2006-2012 I was performing solely in musical theater. It felt great, like I had come back home. It all reminded me of the feeling I had when performing as a child. I really can’t put it into words. It just feels like it’s where I’m supposed to be.

Have to throw this in. My earliest memory is listening on headphones to the albums (yes, records) of Fiddler on the Roof and Jesus Christ Superstar. My mother said I would wear the headphones thinking no one could hear me as I sang along.

Is this the first large project you’ve written?

It’s the first full length musical that I’ve written. I’ve produced a lot of audio. For example in 2003 I released over 50 CD’s of my own material, but under different pseudonyms. I have very little actually released under my own name. For 16 years I had a commercial recording studio in Southern California so most of my projects were “for hire” work for other artists. Often for my pseudonym releases I would work with a 5 hour ProTools file. So I’m used to working on large audio projects and scoring. But incorporating those elements with “the book” was a new experience for me.

Is Witches! the Musical based on the Crucible?

No. Witches! and the Crucible are both based on the events of the 1692 Salem Trials. Witches! was created from the historical documents, not from the Crucible.

How does Witches! the Musical differ from the Crucible?

I haven’t seen Arthur Miller’s “The Crucible” all the way through. I purposely did not look at it while writing the script. It was only after I had a first draft of the script that I read the outline for the Crucible on Wikipedia. Since then I have seen the first few minutes of the movie and script, but I stopped there to make sure I didn’t borrow anything in my production. So that being said, here is what I THINK are the differences.

Period dialogue. The Crucible is all period dialogue. I didn’t want to use the speaking style of the 17th century all the way through the musical. Partly because it’s already been done with the Crucible and partly because I find it boring. I did start off with the intention to make it period. I even have a copy of “17th Century Slang” to use for dialog reference. In Witches! the Musical, period style speaking is used primarily for the court. The Circle Girls speak in modern American English. To me, it serves the purpose of separating the two worlds of 17th century society versus the Circle Girls. Also, by making the Circle Girls more modern in their dialogue it’s my hope that contemporary audiences will relate with them better. I think the period dialogue provides a distance where the audience can say “Oh, this was a long time ago. We’re not like that now.” But the modern dialogue makes it more immediate. That’s my intention anyway.

John Proctor and Abigail Williams. In the Crucible, Arthur Miller creates a love story and plot device to instigate the trials with 30 year old John Proctor and a late teen Abigail Williams. I can understand why Arthur Miller did this for his plot needs. But historically John Proctor was sixty years old and Abigail Williams was twelve. I had no reason to change Abigail’s age because I was very interested to ponder what would make a girl so young be such a driving force for the trials. In Witches! the Musical there are some sub plots of love relationships but it is done without changing the historical record. In Witches!, the historical character of Rev. Burroughs is mixed into John Proctor’s character.

Beginning. The Crucible begins with the afflictions of Betty Parris. I also understand why Arthur Miller did that. He wanted to start right where the action was. And I’ve read over and over that dramatic works should start with the action. This is a rule I broke. For me, one of the most fascinating elements of 1692 Salem is “How did it all come to be?” I think the possible answers to that are extremely engaging. And in Witches! I give several different motives and developments for the audience to consider. So in my story we start before anything has happened and show the gradual progression of events.

Ending. I think the Crucible ends with the sentencing of John Proctor. Is that correct? In Witches! the Musical we follow through that time and on to the end of the trials and beyond.

Thomas Putnam and Thomas Danforth do not appear in Witches! the Musical. Although Thomas Putnam is referred to many times.

Is Witches! the Musical true to the historical record?

Witches! the Musical incorporates a lot of the direct quotes from the historical record. Sometimes the quote is performed by the actual character as with Rev. Parris. And sometimes a different character says the quote. For instance, Bridget Bishop says some quotes that historically are from Sarah Good. In the script I’ve tried to make the historical quotes in bold print so cast members know which lines are historically authentic.

I’ve also taken quotes from 1620-1710 and interspersed them throughout the script. Some are from government officials before the events of 1692 and some are from publications and reflections of eyewitnesses published shortly after 1692.

It was foremost in my mind that material I added not conflict with the historical record. The elements added are things I feel “could” have happened. The most rewarding part of the whole process was taking a particular event and pondering the question: “What could have made this happen?”. And of course, because it’s musical theater, events and personalities are magnified to make them engaging and interesting.

How did you decide which quotes to use?

If it’s boring, I cut it. If it’s not interesting, doesn’t shed light or doesn’t move things along, I cut it.

How does Witches! the Musical differ from previous musical productions about Salem 1692?

The topic of 1692 Salem has been written for musical theater many times. It’s my personal feeling that it’s never been done well, or to it’s fullest potential. I don’t want to mention specific productions or disparage any other writers. Other productions I know about have used a specific music style to tell the story. But I really feel that to express the wide range of events and attitudes of the story there needs to be a wide palette of musical expressions.

For Witches! the Musical I wrote each musical piece in the way that I felt best expressed what needed to be said. In some instances it’s a four part chorale with counterpoint in the style of 1692 (Maybe 1715 – Bach was only 7 years old in 1692). For the Circle Girls, who speak in modern English, I gave them Rock and Hip Hop styles to express themselves. The Court is more traditional with a Baroque style Recitative. Sarah Good, who used to be quite well off but now a beggar, sings in a more operatic style. In my mind, the Circle Girls are young and quick to know everything so their songs are punchy. Sarah Good has been around the block, has known the full spectrum of joy and sadness in life, so she sings with more depth and color. In general, the Chorus joins in on the mood of each scene. So sometimes they sing in a classical style and sometimes in a more contemporary style.

I have heard the comment that the music is “eclectic”. I’ve also heard the comment, “Instead of writing leit motifs for the characters, you wrote style motifs for the characters.” After opening we’ll see what audiences think. I think I can say that this musical is expressed in a way that only I could express it. And I can say that there is no one who could anticipate the range of styles in the musical before seeing it.

What were your personal guidelines for writing the musical?

Again, much gleaned from Stephen Sondheim’s advice. I had his five rules pinned above my computer monitor for a couple years while writing the script. Don’t say yes when you mean no. God is in the details. Content over form. Don’t write to please other people. Good musicals aren’t written, they’re rewritten. If it’s boring, cut it. If it doesn’t move the story along or show us insight to a character or emotion, cut it. Clarity above all.

I also made the choice to not do anything that broke the historical record. I gave myself artistic license to add another layer and events to the story. But not to do things contrary to the record. I did combine some characters, but I feel that was condensing and focusing the story. The words and events remained true, just sometimes portrayed by different characters from the historical record.

What do you mean “don’t write to please other people”?

Stephen Sondheim says his number one goal is to make the story clear. Everything is about make the progression clear to the audience. And post show edits are almost entirely about making the plot clearer. He said if you write to please other people and then they don’t like it, you end up with something nobody likes. So he recommends writing the story you are compelled to write, make it as clear as possible, then it’s up to the audience to decide. He says he has no control over whether an audience likes a work or not.

I can’t say that I “like” Witches! the Musical because the story is so tragic. There are parts that are just so twisted and wrong. Not of my making, from the historical record. But I can say that Witches! the Musical is the full expression of the story I was compelled to tell. So I can stand alone with the story and feel confident in that. Will audiences like it? I have no idea. My personal feeling is they will love it or hate it. I don’t see a lot of middle ground. I’m excited to see what reactions are.

Why the PG-13 rating?

That was self imposed. During readings I would ask people the age group they felt the material was appropriate for. Many people suggested I edit the show to make it appropriate for elementary school shows. I think it’s a dangerous road to make edits in anticipation of pleasing other people. It also violates the Sondheim rule to avoid writing just to please an audience. My only fear, and agreed with by the producers, is that someone would bring their seven year old grand daughter to the show thinking it was a fun Halloween show for kids. I think the PG-13 rating makes it clear that it’s not a children’s show.

What age would be appropriate? As the PG-13 rating suggests, that would be up to the discretion of parents. Although there is comedy, fun and campiness – the story is dark. People are executed, reality is distorted, characters do disturbing and inappropriate things. Most of it based on the historical record. If I removed those elements then I’m not really telling the story.

What do you think are the most disturbing parts of the musical?

The treatment and suppression of women in the Puritan culture. The treatment of Sarah Good and her daughter Dorcas. The underlying motives of Dr. Griggs. The treatment of Tituba the slave and her daughter Violet. The fun and joy the Circle Girls enjoy during the events. The arrogance of the Court towards the evidence presented. I cannot put into words the feeling I get during these events of the Witches! story. It’s not uncommon for me to start shedding a tear during rehearsals. I don’t know if it’s because I’m close to the material or because of the presentation of the content. Audiences will let us know the truth on that.

It was very intentional to highlight the elements that offended me the most. The story as a whole, the historical story, should offend any contemporary viewer. So I’ve included everything that pulled an emotion from me.

What is the message you’re trying to say with Witches! the Musical?

The Crucible was written to make a political point during the McCarthy communism scare. I don’t have the intention to make a political or religious point with Witches. My primary goal was to tell the story in an engaging way so people are drawn into the story. There is not a lot of soap box preaching at the end to wrap everything up. The historical story doesn’t have a tidy ending. Some of those accused were not exonerated until the 20th century.

I don’t want to give away any spoilers. Having been asked this question many, many times I think maybe I do have an unconscious message in the musical. When I hear people talk about the Salem Trials it’s often in a context of “they were so stupid, so ridiculous” and then we feel so smart about how we’ve progressed. But I wonder if we’re so far removed from the events of 1692 Salem that we don’t have to be concerned about it happening again. You’ve heard the saying: “Those who cannot remember the past are condemned to repeat it..”

Do I have a specific political or religious message? No. Not consciously anyway. I do think Salem 1692, even though it was over 300 years ago, is still an open wound. It’s my hope that audience members see the musical, are moved to research the events on their own and then return to see the musical with a deeper understanding. I think the musical has enough depth to warrant multiple viewings that will give a deeper understanding to the viewer each time.

Any other information you’d like to add?

I’m very happy with our cast for the World Premiere. The cast is not paid, but I won’t say they aren’t professional because it’s not true. The cast has been extremely professional in their treatment of the work. We have a wide range of experience from seasoned veterans to first time performers. The story I see them telling in rehearsals is the story I had in my head. A lot of that is thanks to director Jane Skinner.

Usually the writer doesn’t attend all the rehearsals for a premiere. But since I’m doing triple duty as writer, musical director and soundtrack programmer, I have to be at most of the rehearsals. Jane Skinner, the director, has been very gracious in letting me give input during rehearsals. So I can truly say that what is put on stage is the representation of my story.

Theater Arts Guild of Skagit County was also very bold and generous to produce the premiere of Witches! the Musical. They are my friends and colleagues and I hope we have a long partnership together.

You said soundtrack, is the music live?

I am creating the soundtrack in Ableton Live which will be triggered live during shows. We also have five musicians that will play along with the tracks. So it’s very similar to how I was running shows while being MD for Cirque Du Soleil.

It became clear very early on that I wasn’t going to be able to secure the number of musicians and the amount of time needed to pull off the musical score with so many different styles. After a couple local musicians said, “Exactly how much time do we need to commit?”, I knew right then I had to create a soundtrack.

For the soundtrack I worked with several musicians online who would download tracks, record and email me their finished parts. So the soundtrack has a lot of live instruments in it.

What do you think the future for Witches! will be?

After the premiere run we will release the soundtrack and video somewhere in the first half of 2013. Then there will inevitably be another round of small edits and improvements based on audience feedback. I’m hoping a larger theater will take on the show for October 2013, maybe the Village Theater in Issaquah, WA. We haven’t talked with them yet. Will see how it goes.

I’m also imagining there may be a request to complete an orchestrated score for live performance. Then if groups want to perform Witches! they can choose between a soundtrack or live band.

Beyond that. I’m not sure. It’s like giving a bird it’s wings. After the premiere it will have it’s own life. We’ll see where it flies…