THE COMPOSER DIARIES: VOLUME 1
This collection of blogs from musical theatre songwriter Darren Clark chronicles the euphoric highs to the crushing lows of being an emerging mid-career musical theatre writer in the UK.
From being commissioned by the RSC to being fired from a game-changing dream job, Darren shares what he has learnt about his art form and his business including difficult subjects such as how much you should be paid to write and how to handle the critical reviews.
GETTING, KEEPING & WORKING WITH YOUR ACTING AGENT
This empowering, informative guide explains everything actors need to know about agents – how to find one, what they do, and how to work with them effectively to help you succeed in your career.
If you're currently seeking an agent, discover how to research and contact them, and what they're looking for in their clients. And if you already have one, learn how to manage and get the most out of this crucial relationship.
Also included are invaluable tips on how to write a great CV; obtain attention-grabbing headshots, showreels and voicereels; prepare for and excel at auditions; embrace social media; protect your mental health; and much more.
Breaking into song
People rarely say they hate books, or television, or films. But they often say they hate musicals. Moreover everyone seems to have a fixed idea of exactly what a musical is; what it sounds like, looks like, or is about.
Why is the collision and integration of music, song and storytelling so polarising and why have we allowed a form so full of possibility to become so repetitive and restrictive?
Through a series of essays Breaking Into Song asks what audiences can do to stay open minded and what creatives can do to make new musicals better. Examining both sides of the divide, Adam Lenson asks how those who both love and hate musicals can further expand the possibilities of this widely misunderstood medium.
HOW MUSICALS WORK
Musicals are the most popular form of stage entertainment today, with the West End and Broadway dominated by numerous long-running hits. They can be gloriously life-affirming spectaculars, swelling both the hearts of audiences, and the wallets of their writers. But for every Wicked or Phantom of the Opera, there are dozens of casualties that didn't fare quite so well. In this book, Julian Woolford explores the musical theatre canon to explain why and how some musicals work, why some don't, and what you should (and shouldn't) do if you're thinking of writing your own.
Drawing on his experience as a successful writer and director of musicals, and as a lecturer in writing musicals at the University of London, Woolford outlines every step of the creative process, from hatching the initial idea and developing a structure for the work, through creating the book, the music and the lyrics, and on to the crucial process of rewriting (as Sondheim said, Musical comedies aren't written, they are rewritten ). He then guides the reader through getting a musical produced, with invaluable advice about generating future productions and sustaining a career.