My favourite pieces of musical theatre are always doing something wild. A musical is an incredible innovation and each one has its own weird and wacky journey, its own toolbox to tackle its unique project.
So when I'm thinking about what kinds of insane projects have been crafted into excellence, there are some pretty insane ideas. I grew up with A Chorus Line, sung songs from The Little Mermaid all of my life —well, maybe not but it seems like all of my life, including last week—saw Caroline, or Change at the Royal National Theatre in London before I went to college, sing Marie Christine to myself around the house, and nod at Book of Mormon quotations more often than I hear quotations from the Bible. What do these pieces have in common? Members and alumni of the BMI Lehman Engel Musical Theatre Workshop wrote them.
I was admitted to the BMI Musical Theatre Workshop last week. I am very grateful to them for offering a know-nothing like me a spot where the artist angels have tread. I pray to earn my place.
Now: I'm taking bets. How long before somebody tells me this British girl has got to leave Sibelius and learn Finale?