by Barry Drogin
Back to guide - Next item in guide - Back to index - Next item in index
Here's a fantasy: It's 1999, and dumb, inexperienced bozos all over the United States are seeking gullible investors to sink millions of dollars into their independent films. One of those investors actually has taste, and realizes that for a much lower cost (only half a million), he or she can endow a theatrical institution in New York that will live forever. Or, for only $50,000, that investor can launch a single trial season.
This institution I will call "The New York Singer's Theatre." It is devoted to presenting three works a year: one older work by deceased creators, one revival of an older work by established creators, and one new work. The works will all belong to a genre I call "The New York School of Opera." These works are for singing actors, were written by New Yorkers, but fall outside of the Broadway/Musical Theatre tradition. They form their own tradition, which up until now has not been recognized as such.
Each work will be given a three month run, at least four performances per week, in an Off-Broadway size house. Here's my fantasy schedule:
Of course, this is a first draft. I'd love to do a Blitzstein work every season. And a Weill work every season. And a Salzman and Sahl work (their work together and apart) every season. If there was room, I'd include some of the more operatic and Broadway work of both Sondheim and Bernstein (especially "West Side Story"). I wouldn't mind seeing William Finn's "In Trousers." There might even be reason to expand to works of Menotti or Britten.
What would you include? Back to guide - Next item in guide - Back to index - Next item in index
A Musical Contrarian © 1999-2007 email@example.com