![]() And though its theater season each summer is a must-see in the industry, even that is more inward facing than outward, with only a few performances of each show and no reviews allowed.īut the season’s smaller shows, by artists not yet as well known, got much the same treatment as they set out to answer their own idiosyncratic questions. He was a guest of New York Stage and Film, the quietly influential incubator of new plays and musicals (and screenplays and television scripts) offering year-round workshops and residencies. That was the reason he spent two weeks recently on the stately campus of Marist College here, working in free rehearsal halls and sleeping in an undergraduate dorm bed. Now he needed to figure out something smaller but crucial: how to apply the organ stings, ominous monotones and other instrumental plot thickeners that would underline the satire and keep the audience on track. He had already nailed down the plot, about a Black performer on a surreal soap who schemes, from the “blackground,” to outshine the white stars and get a story of her own. Jackson has been developing his musical, “White Girl in Danger,” since 2017, through so many workshops and readings that he can barely list them all. What kind of underscoring do you write for a melodramatic yet serious musical inspired by soap operas, Lifetime movies and “Law and Order: SVU”? Jackson, the question was quite specific.
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