![]() But in general, it’s much easier and usually more successful to have characters simultaneously singing their own separate parts in a stage musical than on film, where the focus of the camera makes counterpoint difficult to achieve. Virtually all the lyrics are new, as is much of the music. Schwartz: The version of “In a Place of Miracles” in the stage version is vastly different from the version we wrote for the film. Why did you want to use the song in the stage production? On the DVD commentary bonus tracks someone comments that the song didn’t end up in the movie because it took the focus away from Quasimodo and placed it on Phoebus and Esmeralda. While I think it’s a great shame that the magnificent production on which this recording is based will not be seen by American audiences anymore (at least a replicated production is scheduled to be produced in Japan later this year), I think having a record of one of the best casts I’ve ever seen assembled can only be a positive thing.ĭe Giere: The new musical includes the song “In a Place of Miracles” cut from the movie. So it was very important to me that there be a really good recording of The Hunchback of Notre Dame, a show for which I feel enormous passion and pride. It is the recording that triggers future productions. Stephen Schwartz: I have learned over the years that a show doesn’t really exist unless there is a recording of it. The Hunchback of Notre Dame New Stage Production and Album Carol de Giere: Why did you feel it was important to create a studio album? On one of his trips, he answered a couple of questions for me about the new album for The Hunchback of Notre Dame stage production (lyrics by Schwartz). ![]() Yet musical writing always involves collaboration so he is often in a plane traveling to meetings in Los Angeles, London, or elsewhere. He has spent many weeks in “writer hibernation” in order to focus on songwriting for new stage musical Schikaneder and new stage adaptation The Prince of Egypt. Over the past few months, Stephen Schwartz’s environments have ranged from his private work space at home to the White House for a “Broadway at the White House” program from rural Connecticut to a small city in Florida to the busy European cities London and Vienna. From the left: John Caird (bookwriter), student actress Victoria Bartolotta, and Stephen Schwartz (composer-lyricist). ![]() PHOTO: This past November the writers of Children of Eden traveled to Stuart, Florida, where the StarStruck Theatre was testing one-act Junior version of the show. THE SPARK OF CREATION: Stephen Schwartz News Carol is the author of the Stephen Schwartz biography Defying Gravity and also The Godspell Experience. Use the following link to subscribe, if you haven’t already: Copyright by Carol de Giere, 2016. To share this current issue of The Schwartz Scene with your friends, send them to In this issue, you’ll also find concert appearances, a touching story about the development of Children of Eden Jr, Wicked news, and more. These include a brief Q and A about The Hunchback of Notre Dame stage musical new studio recording and a longer interview about The Prince of Egypt as a new stage musical. This issue features new interviews with composer-lyricist Stephen Schwartz that are exclusive to The Schwartz Scene.
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