…made into musicals.

I realize that may sound strange coming from a guy who *writes* musicals, but that’s just how it is. The more I hang out with/watch interviews with/read books by musical-theatre creators, the more I start to pick up a vibe: “Every play, movie, novel, band, and theme-park attraction could be made better by turning it into a musical.”

Part of this has to do with our culture’s love-affair with re-hashing previous successes. An obvious example would be Hollywood, constantly churning out a stream of re-makes, comic-book adaptations, and sequels of sequels of sequels. Because adapting a previous success means you’ve got a sure thing on your hands, right? An original musical? Whoa…that’d just be too big a risk!

A while back, I came across this article, and was pretty horrified. For the record, I’ve seen the film *and* read the book it was based on, and enjoyed them both. Aside from the terrifying, sickening gore, there’s a fascinating psychological story underneath. It’s disturbing and it’s absolutely NOT for everyone, but I appreciated it. That aside, while I was watching/reading it, I wasn’t thinking to myself that it would make an amazing musical. Why not? Well, because it won’t. As a novel and as a film, American Psycho is already enough. There’s nothing lacking that could only be filled through song and dance.

(Oh, and while I’m on the topic: this isn’t a good idea either, and I’m dubious about this.)

Now, I could be wrong. One of my favourite professors once told a story of how, years before, he’d scoffed when he heard that Victor Hugo’s Les Miserables was being turned into a musical. The esteemed professor declared that it simply couldn’t be done…and then was happy to eat his words when Les Mis premiered and took everyone – including him – by storm.

And I’m the first to admit that a number of the best musicals ever written were adaptations of existing works. Little Shop of Horrors was based on a movie, Cabaret came from a play and a book of short stories…but the point is, the creative teams chose to adapt these works because there was something in them that could only be expressed through song. Turning these works into musicals *added* something meaningful. Nowadays, this cardinal rule seems to have been forgotten. The main criterion which seems to drive many producers/composers/lyricists is simply “has anyone else musicalized this work yet?”

Is it really too much to ask for us to have a little originality in musical theatre? Can’t we have at least *one* show that isn’t a) an uninspired direct-to-stage transfer of a movie, b) another revival, or c) based on a Disney cartoon? Because the thing is, audiences today are being force-fed the theatrical equivalent of fast-food. Then, when some innovative producer tries to offer them steak, they’ll turn it down…because it isn’t familiar, non-threatening, and packaged in a flashy styrofoam container.

(inspired by the Stuff You Should Know podcast)

           As he crested the top of the Ferris wheel for the forty-first time, Hippie Rob had a revelation.
           If he had tried to describe it later on – which he didn’t – he wouldn’t have been able to fully explain what had happened.  It was kind of like a religious experience but without the religion, or like a vision but with no visuals.  It felt like electricity zapping through his brain, but in a good way, or like jumping out of an airplane and landing on a mattress made of joy.  It was like the best trip he’d ever had, times a million, and only lasting the blink of an eye.  In short, it was…indescribable.  All Hippie Rob could say for certain was that one moment he had been trying to sleep off a hangover on an empty carnival ride, just like any other Tuesday morning, and the next moment everything – everything – made sense.
            He sat bolt upright, as though an invisible hand had grabbed his dreadlocks and yanked.  Sedona, startled, gave a short yip and looked up at him with wide eyes.  Hippie Rob sat frozen for a moment, mouth open, eyes wide.  Then he sprang into motion and started to bang on the side of the car with his flip-flop, calling down to Hank to let him off.
           Back down on the ground, Hank looked up from his magazine in surprise.  Hippie Rob usually stayed on the wheel for hours at a time.  Why did he want off so soon?
           Hippie Rob was still banging on the car.  “Right.  Gimme a minute,” Hank shouted over the tinkly carnival music and the roar of the engine.  Hippie Rob didn’t hear him, and kept banging.
           It took thirty seconds for Hippie Rob’s car to come around.  Hank pulled the brake lever, then stepped onto the platform to open the car.  As the cage door screeched open, Hippie Rob emerged, a blank and vaguely determined look on his face.  Without a word or a glance, he breezed past Hank and strode off through the carnival, Sedona trailing behind.
           “Hey!” called Hank, “you okay?”  But Hippie Rob kept walking, and was soon out of sight.

           In a daze, Hippie Rob left the carnival and headed downtown.  His first destination was a barbershop.  He went in, leaving Sedona waiting on the sidewalk.  When he emerged five minutes later, the confused wolf-dog barely recognized him: gone were the trademark reddish-blond dreadlocks and beard.  Instead, this new Rob sported a clean shave and a meek short-back-and-sides.
           Next, the man who had until recently called himself Hippie Rob stopped at the copy centre on the corner.  He sat at a computer, opened the word-processor, and began to type almost at random.  Before his eyes, a polished, well-crafted resume took shape, beginning with his full legal name (which he never used) and an address he had never heard of.  His haphazard typing went on to list several degrees from colleges he had not attended, and described his duties at a number of jobs he had not actually held.  After logging in to an email account he didn’t know he had, he attached the resume to a new message and sent it off to three made-up addresses.
            Back outside, he took the opportunity to empty the contents of his pockets into a trashcan.  He threw out two broken lighters, three rubber bands, a bottle-opener, a half-pack of breath-mints, a fruit rollup, and several baggies containing a controlled substance.  The only item he didn’t throw out was an unfamiliar key that, he soon discovered, unlocked the front door at the address on his resume.
           Inside the sparsely-furnished apartment, he found a closet full of expensive suits, and an answering-machine with a message from a law firm, offering him an interview tomorrow morning.

           That was five years ago.
           Tonight, Robert puts in an appearance at the office holiday party.  At the encouragement of one of the senior partners, he has a glass of eggnog.  Then another.  After a few more drinks, Robert feels funny: not drunk, exactly – or, at least, not just drunk – but a feeling he can’t quite put his finger on. 
           Then, in the midst of an otherwise innocuous conversation, Robert suddenly feels the urge to break into song.  He attempts to ignore it, but the feeling gets stronger and stronger.  Sweat begins to bead on his brow as he tries to fight the impulse.  In the blink of an eye, however, Robert is enthusiastically serenading the entire office as they watch open-mouthed.  He finishes his song to confused applause, and immediately declares himself to be The Life Of The Party.  He photocopies his face.  He tears off his suit-jacket and tie, and stuffs them into the nearest shred-bin.  Despite the lack of music, he slow-dances with a ficus tree.  Finally, he climbs atop a desk and delivers an inspiring oration to his rapt co-workers, urging them to cast off the shackles of commercialism and learn to party.  They cheer and laugh, hanging on his every word.  That Robert, they tell each other.  We always knew he had a sense of humour buried deep inside.
           Several hours later, a taxi drops him off at Robert’s house.  He is greeted by Robert’s wife, who has been worried sick.  He looks in on Robert’s sleeping children, three-year-old Austin and six-month-old Dakota.  Sedona barks and prances like a puppy, capering as he follows his master from room to room.
           Hippie Rob is charming and vaguely incoherent; wide-eyed and spontaneous.  He soon manages to put Robert’s wife at ease, convincing her that nothing is the matter.  After she goes to bed, he sits alone for a long time in Robert’s leather recliner.  He tries to piece the last five years together, recalling one unfamiliar memory after another, viewing his past through a stranger’s eyes.
           Soon, however, he begins to feel drowsy.  Aware that he still has much to figure out, Hippie Rob writes himself a note so he’ll remember where he left off, and leaves it on the end-table.  Then he passes out on Robert’s couch.

           Robert will awaken the next morning with a crushing hangover.  He will not remember the previous night, and will apologize profusely to his wife for his behaviour.
           Sedona will mope for the next week, though no one will understand why.
           After breakfast, Robert will find a note on the end-table, in unfamiliar handwriting.  Though much of is illegible, he will manage to make out the words:

                                            don’t you ever, ever forget who you are
 
            By the time Robert reads the note, Hippie Rob will be gone.

Zaalzegoth?

       …
       He cleared his throat. “Kyrie Adams, I have come to offer you your heart’s desire! What is the one thing you want most in the world?”
       Kyrie thought for a minute, absently clutching her doll. “Well…what have you got?”
       Zaalzegoth looked surprised. “What have I got? Uhh…anything you wish! I could conjure up a very nice pencil. Or a piece of string?”
       Kyrie shook her head. “Don’t you have anything good?”
       “In that case, how would you like to be able to understand what pelicans are thinking?” Kyrie looked at him as though he’d grown a fifth eye. He hastily continued, “or would you like a magical book that foretells what you’re going to eat for every meal for the next ten years?”
       “Why would I want any of those?”
       The devil looked desperate. “Okay, how about this. I might not have anything you want right now, but I have an uncle who’s very powerful. I’m sure if I asked, he’d grant you a big wish, like becoming president. Would you like that?”
       “Your uncle can make people president?”
       “He sure can! He’s done it before! Or, if you wanted, he could give you the power to fly.”
       “Fly like the birds?”
       “Yes! Exactly like the birds!” Zaalzegoth grinned.
       Kyrie looked sceptical. “What would it cost?”
       “Oh, nothing much. Certainly nothing you’d miss. All I’d ask in return is…your soul!”
       Kyrie shook her head. “No thank you. I read a story once about a man who sold his soul, and it didn’t have a happy ending.”
       The devil was disheartened. “Isn’t there anything you want? Anything in the entire world that you desire?”
       Kyrie thought for a moment. “Do you want to play dolls?”
       “In exchange for your soul?”
       “No.”
       “Oh. Then no.”
       …

Mrs. Syncopation

Mrs. Syncopation (b. January 17, 1926), born Eualalie Henrietta Erpington, is a very important person. She was born in Heppshire, England, to parents of mixed Cornish descent. Her father, Frederick Erpington, was a coal miner, and her mother Thumbelina Erpington (nee Cogswaddle) a schoolteacher in the nearby village of North Brenston. Eualalie’s formative years were spent in the mountain country of Peru, and upon her return to England in 1943 she met her future husband, James Syncopation III. They were married in 1947 after a whirlwind courtship, and came to live in the town of Chetham, where James worked as a bookkeeper for a notable firm of shoemakers. Their son Benyaminn was born in 1948, followed almost immediately by a second son, Smith, in 1951. In 1952, James Syncopation died during an outbreak of the bubonic plague, and Eualalie was left to raise the two young boys by herself. She took a job in a travelling circus, and quickly rose to fame as the most talented musical-saw player of her generation. In 1972, Mrs. Syncopation went into hiding, disappearing completely from the public eye. To this date, nobody knows of her whereabouts.

During her career as a musical-saw player, she shunned recording technology of any sort, insisting that capturing music on tape would lead to a decrease in the demand for live music. Despite this, a concert promoter made a secret recording of her 1968 recital in Rotterdam, and sold thousands of copies to collectors all throughout Europe. Mrs. Syncopation challenged the record in a highly-publicized court case, and the judge ruled that all copies of the record were to be destroyed. Despite this, it is estimated that as many as two hundred copies of the recording still exist, regularly fetching four-figure prices in auctions. To modern musical-saw players, this recording, however ill-gotten, shows the depth of Mrs. Syncopation’s technique, and has set the bar for musical-saw artistry.

(A free-write inspired by Christopher Moore’s blog.)

It has been said that every visitor finds his or her own Paris.  In this city of boulevards and baguettes, everyone discovers their own unique world, quite unlike the Paris described by the guidebooks.

I can assure you that this is indeed true.  My personal Paris, it turns out, is a charming city filled with life and culture.  It is a place where the wares of a certain patisserie on a certain unassuming street will change your life.  A place where every evening the setting sun’s rays paint the buildings of the 6th arrondissement the most amazing gold, and where the beauty of the night-time view from Montmartre will break your heart.  In my Paris, the sweet notes of a busker’s violin float through the square on a sunny Autumn morning, and every street-lamp is a work of art.  Every narrow avenue in my Paris is filled with the laughter of young lovers.  The avenues are also populated by fedora-wearing ants the size of Cocker Spaniels.

Yes, that’s what I said.  Giant ants wearing hats.  They wander every street, mingling peacefully with the human residents of Paris, and nobody seems to pay them any heed.  When I asked about them, on my first day in the city, no one had any idea what I was talking about.  I was driven to distraction.  Why did nobody notice them?  Why were they not mentioned in the guidebooks?  Why had my travel agent not seen fit to discuss their presence?   Now, though, I understand: I have found my Paris.  Nobody else’s Paris contains giant ants.

You might assume at this point that I have been sampling too much French cannabis, but this is not the case.  Indeed, after spending all day staring at waist-high insects, I wish I could find a recreational herb to help me relax.  I’ve looked.  But in my Paris, apparently, it is completely impossible to procure marijuana.  The dealers, who lurk furtively in alleys but are fashionably dressed and are all called ‘Jean-Marc’ or ‘Phillippe’, are actually selling asparagus.  Welcome to my Paris.

My Paris also has a disproportionate number of stores which specialize in selling piñatas – at least one on every street, ranging from small mom-and-pop operations to multi-level piñata superstores.  There is also, apparently, a piñata district in the centre of the 7th arrondissement.

These are but a few of the peculiarities specific to my Paris.  But it would seem that I’m not the only person whose Paris is strange and surreal.

Occasionally, wandering the streets at night after the ants have all gone to bed, I will encounter a tourist inhabiting a separate but equally bizarre Paris.  Somehow we know how to recognize each other.  They may tell me how in their Paris everyone speaks Swahili, or hats are outlawed, or the colour orange is conspicuously missing.  I tell them about the asparagus.  They talk of how horrible this vacation has been, and how eager they are to leave and return to their normal lives.  I envy them.  I wish desperately to leave, but my Paris does not contain an airport.

Strange, yes?  I know that it had an airport when I arrived, for this was how I arrived.  But when I sought it out on the third day of my trip (for the ants were beginning to get to me), it was no longer there.  Nor are there any trains or buses which lead out of the city.  I have questioned taxi drivers, travel agents, police officers, but none of them have any idea what I am talking about.  All roads, it would seem, lead to my Paris.

Sartre once said that hell is other people.  Based on this, I can only assume that his Paris was radically different from my own, otherwise he would have used a different metaphor.  No, I am quite certain that in my Paris I have found the true meaning of hell: a heartbreakingly beautiful city filled with interesting and vivacious people, breathtaking sights and unforgettable tastes, and dog-sized ants who wear hats.  Hell is a world where only outlaws own asparagus, and piñatas are in plentiful supply…

…and you can never leave.

Paris Night

I’ve always been a fan of giving things weird names. And while most composers of art-music tend to be fairly conservative when choosing titles for their compositions, a handful seem to delight in the bizarre. Some of my favourites:

  • Banana/Dump Truck by Steve Mackey
  • Eating Living Monkeys by David Lang
  • Cheap Imitation by John Cage
  • Leck mich im Arsch (Lick My Arse) by W.A. Mozart
  • Genuine Flabby Preludes by Erik Satie
  • Three Pieces in the Form of a Pear by Erik Satie
  • Food Gathering in Post-Industrial America by Frank Zappa
  • These Premises Are Alarmed by Thomas Adès
  • Dead Elvis by Michael Daugherty
  • For the Love of Three Oranges by Sergei Prokofiev
  • notjustmoreidlechatter by Paul Lansky
  • Feels So Baaad by Steven Mackey
  • John Somebody by Scott Johnson
  • Failing: A Very Difficult Piece for String Bass by Tom Johnson
  • The Tortoise Recalling the Drone of the Holy Numbers as they were Revealed in the Dreams of the Whirlwind and the Obsidian Gong, Illuminated by the Sawmill, the Green Sawtooth Ocelot and the High-Tension Line Stepdown Transformer by La Monte Young

Full disclosure: I’m not only a fan of people who use weird titles, but I often use them myself.  Some of my oddly-titled compositions include:

…because, at the end of the day, what good is art if it doesn’t add at least a little bit of RANDOM into our everyday lives?

The True HeroOne of the things that stuck with me well after the Kool-Aid fuelled blur of my childhood – the succession of carefree summers and plastic superhero death-battles – was that I always hated (and still hate) the Roadrunner.

Yes, that Roadrunner.

I always felt sorry for Wile E. Coyote.  Sure, the Roadrunner was “good” while the coyote was “evil”, but how could I root for good when good was such an idiot?  Such a mindless automaton whose sole purpose in life was to run, to go “meep meep”, and to miraculously Never Get Eaten.

The Roadrunner was sheer stupidity triumphing over intelligence.  Dumb luck trumping planning.  Ignorant bliss kicking ambition in the groin again and again and again every Saturday at 9am, Eastern Standard Time.

But the coyote personified all the values our parents told us to hold dear: persistence, planning, adaptability, and contributing to the economy by buying over-priced goods from a mega-corporation.  And yet he failed, time and time again, to get a break.  Every Saturday I tuned in to watch the coyote getting screwed over by fate.  And I have to say, that made an impression on me.

It seemed like cartoons were the adult world’s attempt to lie to kids.  To tell us that good was always going to triumph, even if “good” was embodied by a creature as brainless as the Roadrunner.  At the tender age of four years old, that pissed me off.  I was weird like that.

When I was four, I would have paid my entire 25-cent allowance to see Elmer Fudd actually “kill the wabbit”.  I would have gone without cookies for a week just to watch Sylvester roast Tweety Bird rotisserie-style.

And it doesn’t stop with Looney Toons.  I rooted for Gargamel.  I cheered for the Smoggies.  I coaxed Dr. Claw to clobber that numb-skull Inspector Gadget.  I hoped desperately that this would be the week Coldheart captured and ATE those damned Care-Bears, to put us all out of our saccharine misery.

I would think that maybe, just maybe, the villains would succeed if they’d all somehow team up.  I envisioned an episode where Teddy Ruxpin absent-mindedly remarked that Quellor just didn’t seem to be around today…and it would turn out he was off helping Duke Igthorn ambush the Gummi Bears.  And next week, they and Beastor and the Purple Pie Man would rendezvous with Mumm-Ra and Murky Dismal and Skeletor in Smurfland, where they’d apply teamwork and coordinated-badness to catch those blue do-gooders.

One by one, the dimwitted heroes would be captured and destroyed, until stupidity was banished from the universe I visited on Saturday mornings (and sometimes at 4pm on weekdays).

But it never happened.  The villains always failed, and stupid reigned supreme.  And the children of the world continued to be taught that they could coast through life being cute and mindless.

Meep meep.

That’s all, folks.

Yesterday was spent feverishly writing a play for the Toronto Fringe Festival‘s 24-hour Playwriting Competition. We contestants met at 7pm on Wednesday are were told we had to work the following into our plays:

  1. third-base
  2. a pas de deux
  3. a border dispute
  4. the phrase “the economy is the secret police of your desires”

The completed plays were to be handed in the next day before 7pm.  We all rushed off, already scribbling ideas on notepads.

It was an interesting 24 hours, to say the least.  I spent significantly more time trying to come up with a concept than I spent actually *writing*…but once I had the concept, the play practically wrote itself.  Five hours of writing, one hour of proofing and printing, 30 minutes on the subway, and I handed the finished play in at 5:30pm – 1.5 hours ahead of the deadline.  When I arrived home again, I felt satisfied but slightly stunned; where 24 hours before there had been nothing, I now had a play!  This is definitely something I could get used to.

I’ll post the play (or at least parts of it) once the judging is over.  For now, all I’ll say is that it’s a comedy, I’m very proud of it, and in writing it I learnt more about ballet than I ever cared to know.

In other news, my venerable Yamaha CP-300 digital keyboard is apparently possessed by some unearthly spirit.  A month ago, while working on a very important choral piece (more on that some other time), the mellifluous piano tone was suddenly replaced by a vaguely-pianistic clanging sound.  It sounded like a piano prepared by the devil.  This rendered me, naturally, unable to compose in my usual method, but it ended up being a source of inspiration as well.  I quickly composed a short electroacoustic montage entitled Invention for Defective Yamaha Digital Piano, and found a way to work the infernal racket into another in-progress work.  I knew it had to go in to the repair shop, but I ended up enjoying the strange sounds so much that I was loathe to bring it in until I’d recorded it properly.

(Invention for Defective Yamaha Digital Piano can be heard here.)

Sometimes restrictions can stimulate one’s creativity in the strangest ways!

At any rate, it’s now being repaired, which means I’m left to finish the latest choral piece without a pianistic device of any sort.  This sounds like another challenge!  *rubs hands with glee*

In an effort to fill the (temporary)keyboard-shaped void in my life, here is a picture from the day it arrived, over two years ago.  As you can see, my cat claimed the box as her own.

Read the rest of this entry »

 A new poem and a new photo, the former speculating on what Lazarus might have said as he emerged from the tomb, and the latter from the Old Burying Ground in Halifax, Nova Scotia.

 

 Lazarus, waking

                                    Darkness and pain gave way to –

 

 I can’t describe.

 

 

     It was warm there,        and the air smelled like leaves after rain.
                             The sky shimmered, like sunlight streaming  through clear water.

                                                                             It was more real than   real.

 

                         And for the very first time, I felt

 

                                  free

 

 

 

 

 Until I heard a voice insistently calling my name,
and it all faded back to darkness,

and here I am.

 

                                                 Et exspecto resurrectionem

Just finished a new choral piece, and it’s rather different from my usual choral writing.  Though I have to be cryptic about it for now, this piece has a very important purpose.  Hopefully, once it’s achieved its goal, I’ll post an mp3 here.

In the midst of frantically completing the above-mentioned – and, of course, plugging away at my usual workload of short stories, plays, and electroacoustic works – I’ve been thinking a lot about the nature of creativity.  I’ve recently come to the realization that most of my best works (specifically musical compositions, but also prose and poetry) are created quickly, sometimes in one sitting.  Many of these were created so quickly due to an impending deadline, of course, but some of them were simply born fully-formed in a sheer burst of inspiration.

The realization that most of my works were created quickly came as a massive surprise to me; I’ve always thought of myself as a slow, methodical artist, spending months or even years on a single work.  (One year for Death!, one year for Eight Songs from ‘Jelly Belly’, four years for Walking the Labyrinth…)  Granted, I always have multiple works on the go at a time, but still, I feel like it takes me forever to finish anything.  Apparently I was wrong.

So why were many of my most significant works created quickly?  How is it that I’m able to dash off a piece of music at 6am on the day it’s due and have it *not* sound like crap?  Is my unconscious mind simply a much more capable composer than my conscious mind?  Honestly, when I’m composing quickly, it often feels like I’m randomly throwing notes onto the page, yet somehow it comes out sounding good, bearing a coherent structure, showing motivic unity, etc.

How does this happen?  And how can I make it happen more often?  I wish I knew.  I could probably discuss this topic for hours, but considering that it’s now 1:45am, I think I’ll call it a day and resume another time.

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