I write musicals.
Don't ask me why, but I write musicals.
I've written in several other forms, but, for some reason, perhaps because I
began my career as a lyricist, I find musicals are the easiest and most rewarding form for me to work in.  And, to me, the musical form is as valid a creative literary form as the novel or the play.

I write musicals, but I don't like to see musicals.  Not what is being done
today.  With one or two rare exceptions, all the joy has been squeezed dry from them.  They no longer thrill or give you goosebumps, which may account for the fact that each Broadway season brings more musical revivals than the last.  I don't even know whether audiences of today know what goosebumps are.

I write musicals, but I also write them in period.  I learned a long time ago that if you wrote in immediate contemporary terms, your work will date in no time at all.  What you are (hopefully) about to read has never been submitted to a producer or a performer or an agent or a theater group.  The entire entertainment industry (and I include publishing in this) has become much too avaricious and unconscionable for me.  Besides, I do not write music, and none of the lyrics has been set to music.  Only to my own peculiarly atonal dummy tunes.

A well-known film and former stage director , who had been a great fan
of my novel which has just recently been reprinted (The Princess and the Goblin), asked me why on earth I continue to write musicals when they have become little more than spectacles and are so impossible to get on.  I replied that I don't really care about getting them on, that I write musicals because they are the easiest things for me to do, and that creativity is its own reward.

Of course, if someone wants to produce one, it's still a free country.
I think.
 

 
 

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