Cast Recordings and Parallel Experiences


For the overwhelming majority of musical theater fans worldwide, the cast recording will be their first exposure to any given show. For many of them, it will be the only exposure they get to the show.

Maybe this seems obvious to you. Certainly it does to me, and yet I see far too many people consistently fail to internalize precisely what this means, which is a problem because the cast album has enormous marketing significance; and marketing, like it or not (and for the record, I broadly do not), is life or death for a work in a medium as financially tenuous as musical theater.

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Movie Musical Project: “Rocketman”


The Movie Musical Project is a roughly bi-weekly essay series exploring the best and worst of movie musical filmmaking, with an eye to deriving principles from them that can be applied to a new wave of movie musicals. Join us. We brought wine.

I should preface all of this by saying that in my opinion, Rocketman is one of the flat-out best musicals of the 2010s, as well as a deceptively brilliant execution of the movie musical as a format.

Which is odd, because at first glance it feels like it shouldn’t be. After all, this is yet another rock musician biopic that hits effectively all the story beats of the musician biopic formula, and was not just consulted on but in fact produced by its subject through his personal studio, Rocket Pictures. What this initial impression largely fails to account for, however, is that Elton John has always had an uncanny eye for collaborators.

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Lysistrata Jones and the Failure of Premise


Lysistrata Jones is one of those peculiar shows that has a premise without which it probably wouldn’t exist, but which it would have done far better without.

I had the good fortune to see it on Broadway in the brief window before it closed and thought it was a thorough delight. I was scarcely surprised that it closed, mind you; a show on the small scale of Lysistrata Jones tends to be easily swallowed by even a slightly too-large space, and the Walter Kerr Theatre was substantially too large.

Even though I can’t remember a single song from the show, I certainly do remember the score going down easy. This is hardly a flaw, mind you – who, other than sad nerds like us, remember any song from A Funny Thing Happened On The Way To The Forum other than “Comedy Tonight” and maybe “Lovely,” at a stretch? The songs in a farce are there to give us a brief and pleasant respite from the madcap antics, and the score of Lysistrata Jones managed that just as Forum did. And the madcap antics themselves are both funny and satisfying, with Douglas Carter Beane bringing his taste for drawing-room comedy to bear on a modern setting.

Lysistrata Jones was a show of small ambition that made good on that ambition. For what it wanted to do, it executed as well as one could reasonably hope.

There was only one problem: the premise of the show.

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Movie Musical Project: “Evita”


The Movie Musical Project is a roughly bi-weekly essay series exploring the best and worst of movie musical filmmaking, with an eye to deriving principles from them that can be applied to a new wave of movie musicals. Join us. We brought wine.

The musical Evita is arguably the most accomplished show that either of its writers ever managed to produce. Andrew Lloyd Webber and Tim Rice’s previous shows had often evinced a charmingly enthusiastic sloppiness that sometimes mars one’s enjoyment of them, while their work post-Evita (and, tellingly, post-each other) gradually slips into an apathetic funk with only a handful of bright spots creatively. Evita, then, sits at a singular and rarified point where the artists involved had acquired enough discipline and craft to tackle something ambitious, but were still young and hungry enough that they gave their all to these ambitions, sense occasionally be damned.

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Welcome To The New Discerning Lyricist

Whether you’ve come here from the old blog or are visiting for the first time, welcome to The Discerning Lyricist, a blog focusing on the craft of making songs and musicals!

Articles and essays will be posted semi-regularly, as usual; some will be in the traditional notes-on-writing format, alternating with essays from a brand new series, the Movie Musical Project.

Every two weeks or so I will post a long-form essay covering a specific movie musical with an eye to how movie musicals are filmed and what lessons they can teach us (good and bad) about how to do it right in the future. The first movie musical covered will be Evita (1996), directed by Alan Parker, which I think sums up my evil intentions quite admirably.

Thank you for reading, and may all your lines scan perfectly!

Rap In Musicals, Part II: How Hamilton Fixed Literally Everything

A little over a year ago, I wrote an article called Rap In Musicals, And How Weve Been Getting It Wrong. In it, I made two major arguments: one, that rap was as well-suited to musicals as pen to page, and two, that most uses of rap in the musical theatre thus far had largely failed to realize the extraordinary synergistic potential of these two forms. I then went on to list techniques in the musical theatre that rap would complement perfectly.

I could reiterate all of my points here, but I no longer have to. I can now just point to Hamilton and say, yeah, basically that. Nonetheless, lets briefly run through these ideas and examine them in the context of Broadways latest runaway smash.
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Fiona’s Tragedy in "Shrek: The Musical"








I’m going to do a bit of dramaturgy on a work you might never have given more than half a thought to: Shrek, The Musical.

There are plenty of complaints you might feel tempted to make about the show, many of them no doubt valid, but there is one element that I love, and confidently call an unqualified improvement on the original movie: the characterization of Princess Fiona.

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