The Musical Theatre Issue (2018)
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Masthead of the Musical Theatre Issue (2018)
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Editor’s Notes on The Musical Theatre Issue (2018)
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Dear Dramatist: November/December 2018
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What Rhyme Do You Admire from a Musical Theatre Lyric?
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Adrienne Kennedy: Ten Questions
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The Craft with Lindsey Ferrentino
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How Do You Approach Bookwriting a Musical as Opposed to a Play?
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The Book of Norman, Part 2
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What Should Dramatists Know About Working with Orchestrators?
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On Orchestrations
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When You're Writing Lyrics, How Important is Finding the Perfect Rhyme?
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Rhyme with Sondheim
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The Assignment Conspiracy: Dramatists & the So-Called “Work-Made-For-Hire”
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From the Desk of DGF: The Musical Theatre Issue
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Atlanta: Essential Theatre
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Austin/San Antonio: Dr. Lisa B. Thompson
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Baltimore: Stephanie Ybarra
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Colorado: Theater 29
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Kentucky: Bill McCann
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Los Angeles: A Short Primer on Rewriting
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Michigan: How to Write the Political Play
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Minneapolis/St. Paul: Janet Preus
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New England – South: Championing Fellow Dramatists
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Upstate New York: Two New Regional Ambassadors
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North Carolina: After the Count
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Ohio: Regional Survey and Member Spotlight
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Portland: The Event of a Lifetime
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Utah: Great Salt Lake Fringe Festival
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Dramatists Diary – November/December 2018
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Classified Ads – November/December 2018
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New Guild Members as of September 15, 2018
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Daniel Goldfarb: Why I Joined the Guild
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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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.
’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.
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.