Cover art of the Musical Theatre Issue: Cartoon arms and legs with tux sleeves, fine shoes, and jewelry; and in the background, piano keys and sheet music wallpaper
TABLE OF CONTENTS
L to R: David Henry Hwang, Marsha Norman, John Weidman
L to R: David Henry Hwang, Marsha Norman, John Weidman

Marsha Norman: Today we have three extraordinary members of the accomplished, highly-regarded, nothing-to-prove bookwriters of the earth. All three of you know exactly what makes musical books great and what can mess them up. Yesterday I was with producer Jeffrey Richards and he said, “You know, bookwriters are just the most underappreciated people in the entire musical process.” And I said, “Damn straight.” So here is your first question, gentlemen. What is it that bookwriters do that makes musicals possible?

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Photo of Marsha Norman
Marsha Norman

won a Pulitzer Prize for ‘night, Mother and was co-chair of the Playwriting Program at Juilliard for 25 years. She won a Tony for The Secret Garden and wrote two other Broadway musicals: The Color Purple and The Bridges of Madison County. She is a former vice president of the Dramatists Guild and current President of The Lillys.

David Henry Hwang
David Henry Hwang

’s work includes M. Butterfly, Chinglish, Yellow Face, Aida, Flower Drum Song, and Soft Power. Tony Award (three nominations), three OBIE Awards, Grammy Award (two nominations), three-time Pulitzer finalist. Opera libretti include five shows with Philip Glass, Ainadamar with Osvaldo Golijov, and the upcoming M. Butterfly opera with Huang Ruo.

John Weidman
John Weidman

has written for the musical theatre for almost 30 years. He has written the hook for a wide variety of musicals, including Contact, Pacific Overtures, and Assassins, and has been nominated for three Tony Awards for Best Book of a Musical. A long-time contributor to Sesame Street, he has received eleven Emmy awards for Outstanding Writing for a Children’s Program. Mr. Weidman received his law degree from Yale Law School.