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Powerpoint capstone project 2 file online

Powerpoint capstone project 2 file online capstone pain clinic for money salvan a reportera de pelotazo recoge the works that you're so closely associated with Mark cited some of them I'm gonna embarrass you say some of those names again but Jesus Christ Superstar Evita cats phantom of the opera I mean these are not just wildly popular shows but there are part of the bedrock of contemporary musical theatre how do you keep yourself vital and how do you keep yourself engaged across a span of work like that I guess because i dont really really think about it like that I i'm I'm one of those people I just love musical theatre and I'm lucky enough you know that I not only did I knew I wanted to be a writer for musical theater when I was very very young and I knew what I wanted to do and I i just sort of breath everything but the fact that I that's that's what I do I i mean you don't sit down when you're writing a musical thing is this going to be a huge hit or is it not really what this I don't I just right because I enjoy writing and I love being a part of the theater you have a show that you've been working on for some time now that's a week away from opening School of Rock School of Rock Canyon that it it's interesting one this one because it in one sense it's me slightly off duty but in another sense it's it's just been a great joy because the first piece that I ever wrote that really saw the light of day was good Joseph and the Amazing Technicolor Dreamcoat I think it was performed it was performed when I I guess I was about 19 when I wrote it and what happened was that the school master that she talked my brother he asked me if I would write something for the children of the school to incorporate all of the kids in the school whether they be musical or not something that they would do and I just started working with Tim Rice and I think he probably thought is ideal but actually writing for a Friday afternoon concert for a school in west London was not exactly the career launching thing that we do gotta go broadway but it was not to be so we did Joseph and I suppose that was where my actually working with kids and doing something which children could perform really started now the European you've got a couple more shows under your belt but I mean you're very close to a Broadway opening now I mean do you feel yourself going through you know the same kinds of emotions or even if they're even the slightest sense of uncertainty is a curtain is about the course there is you know I mean we had previews that have luckily you know talk something rather gone gone very well but you can never tell I think most people probably know the School of Rock began as as a motion picture it movie was with Jack Black and was this a film that played often in the Lloyd Webber household is it taking will not but nearly 10 years ago it was when he came out my oldest kids with 13 and 12 at that time maybe just a little bit younger and they watched it all the time and eventually they got their mom who was in the audience and we're here to watch it and then she said well you to see this because there is something that could be done with it I said you gotta be crazy but not only is it is not going to happen but but I mean paramount and never going to let the rights go for something like this anyway she decided that rather dogged me that she would get so she eventually went to paramount and had a meeting with him in Hollywood and things went rather interesting because they thought that she was somehow the film producer of name is rather so she went through this meeting not really knowing you know that scene and sunset boulevard Sheldrake who doesn't turn down gone with the wind which he sort of had that kind of conversation with these guys I don't even know if this is a process you can put into words I imagine you get asked this kind of thing a lot but you know just arrived fully formed in your head you just think something and it comes right out on a piano or where there were there moments we had to leave over and rework and rework but the most important thing i think in musical theater were you have to start and it was the case with superstar 2 is you've got to get the construction right I mean I think there are two things in in music often people don't don't actually necessarily notice but the really great musicals are very well constructed and the other thing which i think is going something how Prince said to me very early on in my career when I got to meet him he says he said you can't listen to a musical if you can't look at it it's very interesting that what he means is if the design of the show is wrong of the production of the show is actually wrong for the material great material can be lost because I find it difficult I mean I I'm a very visual animal that by if I see something that looks wrong on stage I'm lost I think audiences I I think house right I think I i can think of several productions of mine which i've seen work and i've seen the not work and in every case I think the actual design of the production has been responsible yeah I mean when you were trying out the show me there was no we didn't even do a sort of traditional out of town line in Boston or Chicago or some others I need to get to your rock club here in New York well yes I mean when I think back to when I can I started musical theatre that all those things were sort of beginning to get a little bit technical there's nothing like the technology that's involved now with everything complete like everything in life isn't it I mean we need the assets and I will terminated and run on computers and other so where you want to but if you want to make a change its could take days were went up when I started you just say look we were gonna redo this tomorrow and you just people actually move sets now it's all automated and it's all to rise and it's just a nightmare I thought to myself what is the point of going to say out of town somewhere and all will do will play the material and then we'll discover something isn't working and we want to change it and will find that we can't we can't for two or three days and I thought we gotta shows about comedy we got children will lose the will delete we do so so we decided that it would be great just to go and take a space somewhere say we're going to perform safe for five nights a week that's exactly what we did and you know put put on the net that we're performing tonight or whatever it is exactly what we did but when not get upset when not going to try and say that this is what it's going to look like but we are actually going to perform the material for people who aspire to careers as composers are want to create musicals and what kind of advice can you give me again what I said early on that I think the most important thing is to get your work performed I think I don't think it really matters where or how who but I think that providing the work is done if the work is interesting enough I think it's amazing how it can get picked up I did it really particularly today I mean where it's so much easier to to move recalled things I mean when I started it was virtually impossible to get a decent recording something it it's a to school concert but now you can obviously get something pretty high standard and that would be my advice and my my other device I think would be really to follow your own instincts and don't try and be steered towards I mean I mean look I haven't things that happen is one of the great events in musical theater but I mean what I I hope is not going that is that there are going to be two hundred and forty musicals about sort of you know american figures I mean Samuel Adams the musical donald Trump that's your idea you're welcome to capstone logistics portland tn for money State University of New York.

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