Summer news from Broadway and film composer-lyricist Stephen Schwartz and biographer Carol de Giere.
Welcome from Carol: Happy Summer! Stephen Schwartz’s colorful “Update” below includes news about The Prince of Egypt 2020 production on London’s West End, and much more. The photo here is from a recent NYC event. Photo by Victor Hugo
@sppider.
For anyone who has yet to explore the creative world of this remarkable artist through my Stephen Schwartz biography Defying Gravity updated second edition, here is a review I received from writer Patricia Haddad a few weeks ago: “I thoroughly enjoyed reading it from cover to cover. It was truly enlightening, and I got such a sense of Stephen’s creative mindset and process that you conveyed so well! Such an excellent job, and so well presented and organized. Thank you for the pleasure of being lost in the theatre world and life of Stephen Schwartz!”
Find unsigned or signed copies: Defying Gravity Updated Edition
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2. STEPHEN SCHWARTZ UPDATE
Aug. 2019
I always seem to wind up writing these updates on planes, and this one is no exception. I am on my way back from Chicago, where I spent the day yesterday in auditions for a production of Children of Eden planned for next summer. Chicago is such a great theatre town, so unsurprisingly there were really talented performers who came in. I’m confident it’s going to be a first-rate cast. I have to admit, it always makes me happy to hear songs and scenes from that show. There is talk of perhaps making a video of this production, one which could be screened around the country, and I’ll of course be delighted if that comes to pass.
It’s a fairly quiet time for me in terms of writing. The score for the upcoming London production of Prince of Egypt is done, at least pending rehearsals. The songs for a couple of movie projects I am hoping may come to fruition are also completed, though if either of them proceeds to production, revisions or new songs may be necessary. The revised version of Rags, which I have talked about in earlier Schwartz Scene updates, is now also finished (and finished well, in my opinion). So instead of worrying about meeting writing deadlines, I have been spending some time recently working on productions of existing shows.
One of these was an interesting version of Working at City Center Encores off-Center, directed by Anne Kauffman. Working recently has seen some productions into which interviews with local workers have been interpolated, a technique I am enthusiastic about, as it makes those productions feel both very current and extremely personal. (Note: If you are contemplating such a production, you must get permission via MTI, who licenses the show!) Anne’s production concept was to add interviews with people who worked at City Center itself, which is celebrating its 75th anniversary this year. I found it very touching, and a great example of how bespoke the show can be. The week before the actual presentation, Jeanine Tesori moderated a panel with some of the Working songwriters, including myself, talking about the creation of our songs and singing (or having someone sing) one of them. The other writers were Micki Grant, Craig Carnelia, Susan Birkenhead, and Lin-Manuel Miranda. It was a pretty nifty evening; I think you may be able to find some clips on YouTube, and I know the Dramatists Magazine is publishing a transcript.
Then a couple of weeks ago, I was in São Paolo, Brazil, for a production of Pippin. This was to some extent a transfer from a successful production that had been done in Rio de Janeiro last year, but I think the São Paolo iteration was improved in many respects, including the translation into Portuguese. Translations are always so tricky, and in this case, part of the task was to come up with lines and lyrics that made the show, which always has a subtext of cultural and political commentary, relevant to the current turbulent moment in Brazil. It was as always both challenging and fun to work with the translator, the game and gifted Claudio Botelho. From what my Brazilian friends who saw the show told me, it seems to have come off well.
On the subject of Pippin, my next trip will take me to Paris in another couple of weeks, for meetings about a possible production contemplated for next year. This would be the first presentation of the show in France, which is exciting to me because, after all, it concerns Charlemagne, who created what became France. The plan is to find a suitable venue for a kind of immersive production, which I think will be something different for musicals in Paris, a city which has only recently begun to be more hospitable to what we think of as musical theatre (though the French production of Godspell was a hit back in the 1970s). I hope this production actually happens, as it’s one I’m particularly looking forward to.
From Paris, it will be on to London for a workshop and group sales presentation of the afore-mentioned Prince of Egypt. As many of you know, the show is scheduled to play the Dominion Theatre in London’s West End, beginning previews next February and having its official premiere on Feb. 25th. We are pretty much all cast (with the exception of one role), with a wonderful (and wonderfully diverse) group of some 35 performers. Five of the terrific actors who were part of the reading we did last February have signed on to do the show, including our Moses (Luke Brady), Rameses (Liam Tamne, who was excellent in the recent London production of Working – and yes, they spell and pronounce Ramses with an extra “e” in England), Miriam (Alexia Khadime, who was one our excellent London Elphabas) and Tzipporah (Christine Allado.) We don’t actually go into “real” rehearsal until December, but it will give us a great head start to do this upcoming workshop with much of our actual cast, including working out a new dance number we’ve added to the second act, a celebratory moment for the Hebrews called “Simcha!” (It’s followed by “The Plagues”, so you can guess how well that celebration turns out.)
I hope to get some more info when we’re all in London about the design plans, when our fantastic set and costume designers (Kevin Depinet and Ann Hould-Ward) share the enhancements and improvements they’ve made, plus maybe an advance look at some of the stage magic planned by Chris Fisher. This last is a new element. Chris, who coincidentally and counter-intuitively was part of the management team of the London Wicked, was also one of the designers of the mind-boggling stage magic in Harry Potter, so I have a feeling there will be some very cool ideas for effects!
The only drawback of this trip to London is that it coincides exactly with the US Open tennis in New York, so for the first time in several years, I won’t be able to get to that. Oh well, as they say in sports, there’s always next year.
And then after London, it’s off to Prague, where a new “non-replicated” production of Wicked (in Czech of course – another tricky translation) is about to premiere. “Non-replicated,” for those who don’t know, means that is not the same as the original Joe Mantello-directed production currently playing on Broadway and around the world, but their own design and staging of the show. Winnie Holzman will be joining me to try to help out a little during previews, and of course we’re both looking forward to seeing what they’ve come up with, as well as enjoying a little time in beautiful Prague. We always have fun traveling together.
By my next update, I may have more to share about progress on the Wicked movie, as well as the prognosis for the other movie projects I referred to above. Meanwhile, August is a perfect time not to be too swamped, and I am looking forward to some laid-back days interspersed with a little tennis and swimming. And of course, I wish you all a wonderful rest-of-summer as well.
Stephen Schwartz
3. All Good Gifts: More to Explore
WORKING the Musical: See the video clips Stephen referred to: Working NY City Center playlist on Youtube. https://www.youtube.com/playlist?list=PLXeGiKhIoCQXi1E0Y7MzUG89a60Uwt9In
CHILDREN OF EDEN JR
Children of Eden is one of Stephen Schwartz’s most beloved shows! As we covered earlier in The Schwartz Scene, a shorter version of the show has been created for the Broadway Jr program of MTI. For a limited time, a studio cast recording can be downloaded free. If you know a school or theater group who might like to do the show, be sure to check this out soon.
https://www.mtishows.com/news/children-of-eden-jr-is-now-available-read-for-free
Children of Eden Jr. has joined the ranks of the Schwartz shows already available: Captain Louis Jr., Godspell Jr., and Disney’s My Son Pinocchio Jr.
FALL 2019
Watch for more updates this fall, and hopefully more photos or video clips. Meanwhile, keep up with news on Facebook
https://www.facebook.com/TheSchwartzScene/
ASK ME ABOUT AUTOGRAPHED ITEMS
I always have some autographed items ready to ship for those who would like to give a gift of something signed by Stephen Schwartz or keep something for themselves. Ask me about signed copies of The Godspell Experience, Defying Gravity, and Wicked sheet music (1 copy). Visit CONTACT at caroldegiere.com
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About The Schwartz Scene
The Schwartz Scene is an independent publication written for musical theater enthusiasts who appreciate the work of American composer-lyricist Stephen Schwartz. It does not formally represent composer Stephen Schwartz, although the editor, Carol de Giere, is in regular contact with Stephen Schwartz for updates. Send questions or comments to Carol through CaroldeGiere.com contact page.
Copyright 2019 by Carol de Giere. Carol de Giere has exclusive rights, unless otherwise specified, for all materials included in the newsletter. Permission must be secured in writing before any part of it may be reprinted, except for the printing of one copy for the subscriber’s private use. Editor: Carol de Giere, 10 Library Place #909, Bethel CT 06801-0909.
