Playwrights and cultural exploration (3): 'Contemporary musical, a new tradition among writers?'

On 25 January 2018, the Musical Awards awarded with, as we are used to, many translated reruns and calibrated repertoire. Also notable was the appreciation for new Dutch work. Many a writer will have been cheering on the sofa when 'Was Signed, Annie M.G. Schmidt' won awards. Does that bode well for the future? Can the contemporary (small) musical become a tradition among writers? In conversation with Dick van den Heuvel and Nathan Vecht.

An original script awarded

In addition to 'best musical', there is also the award for 'Was Signed, Annie M.G. Schmidt' also award for 'best script'. And well workaholic Annie M.G. Schmidt wrote all sorts of things, but not her own story. Dick van den Heuvel took care of that with a little help from a biography. And, like almost every writer with an award, he was hardly mentioned in news and press reports.

Very much so, writers hardly have ego, Dick van den Heuvel does not, and yet it was a unique moment. The morsels flew through the air here as if the Dutch team scored. Or was it more like the moment you read in the paper the next day that Harold Pinter (2005) and Dario Fo/ Franca Rame (1997) received the Nobel Prize for literature...?

Can it already be called a tradition?

In previous years, the script award has been presented to Nathan Vecht for 'Under the spell of Broadway' and to Johan Timmer and Lucas de Waard for 'Willem Ruis, the show of a lifetime'. Each year, they seem to move a little further away from guaranteed success and there is more room for their own creative work. In terms of division within the Dutch genre, we know classics like Op hoop van zegen, de Jantjes and Ciske de Rat. Then there are pop singers, biographies and old TV series. A contemporary literary background can be found with Turks fruit, Anne, the Twins and Kruistocht in Spijkerbroek. Theatre-maker Pieter Kramer and Nathan Vecht come up with the musical 'Selma Ann Louis', a version all its own.

Of all the musicals shown in the Netherlands (the list will not be complete) is 22% Based on a Dutch story.

PerfectPitch#

Does it exist, the musical as an autonomous work from a writer's 'literary' voice? With our opposite neighbours in the UK, it does. Perfect Pitch# as an organisation there, focuses entirely on writing contemporary musicals with throughput to producers. Emerging talent in writing and composing collaborate there and receive support through dramaturges, coaching and workshops. Shows from this organisation have now been performed from the West End to Korea, including in Belgium. They range from large professional performances to schools and 'amateurs'. Funded by the 'Arts Council', indirectly by the Ministry of Culture? Would that be possible in the Netherlands?

'If we are an import country then we don't innovate our art much, if at all.'

Dick van den Heuvel makes his case with Homemade strong for new musicals for youth like 'Tina'.

Do new contemporary musicals need support for writers to form a tradition? 

'With the Musical Award, I am very happy; and it is especially important for the field I work in. In my short speech - which viewable online is, because the creative awards are in the supporting act and therefore not in the live show - I say that this award is a plea for "new work to be written". And that's how I see it: more should be written and less translated. Actually, also to protect theatre as such. If we are an import country (and we are) then we hardly innovate our art, if at all. By creating ourselves, we can eventually make material that will go around the world. Will it not be by me, then gladly by one of my many colleagues.'

'What genre the piece is classified in, is it subsidised or free sector; that is not essential to me.'

Nathan Vecht: 'Selma Ann Louis falls under musical in the free sector. But for me as a writer, in terms of method, there is no distinction: analysing original script, looking for a core content you want to highlight, redirecting it, writing a new script, etc. Thereby, I have never been that interested in discussions about genre. Musical is short for Musical Theatre. A show can be your taste or not, and can be successful or unsuccessful. Rejecting an entire genre often comes from lack of knowledge.'

Have you strayed far from the film script?  

'The script partly follows the dramaturgy of the original, but at many points it does not. For instance, there are three main roles instead of two, to name a few. The dialogue is completely new. I prefer to make new, original work. For me, an adaptation is only worthwhile if the original has a theme that I want to talk about now, and there is total freedom to run with the existing material.'

'In the original, the woman's revenge on the man is central. With us that theme is also present, but we broaden the spectrum, with us it's also about self-actualisation, the classic road-movie theme: away from home you reflect on your life: have you fulfilled your dreams? Have you stayed true to yourself? To the extent that you know who you are at all. Little people at odds with the big world, therein lies the humour and poignancy.'

'Any initiative that contributes to the education of drama/musical/scenario writing, I welcome.'

Do you notice in your personal development as a writer that you put more of your own stamp on a show?

'In both In the Ban of Broadway and Selma Ann Louis, I am part of Pieter Kramer's creative team. The performances have his signature style. I admired his work from a young age, and I really like the collaboration. In my stage work, the influence of different directors is also visible, but there the text, and thus my signature, is more prominent. In Pieter's performances, it is more an interplay of text, lyrics, scenery, music, choreography, which leads to the final result. Pieter challenges all departments to come up with their own ideas. That means when an ingenious song or set idea arises, I have to rearrange a scene again. But I'm happy to do that, the whole makes for a magic that is more than the sum of its parts.'

PerfectPitch# is government-funded in the UK. A musical writing house for very new work to be developed, would that be desirable in the Netherlands?

'Seems good if that comes to the Netherlands. We are not a playwriting country like the English or Germans are. I welcome any initiative that contributes to the education of drama/musical/scenario writing. If you want to do something well in our profession, it takes a lot of time, so there has to be sufficient budget to develop. I believe the creative team of 'The Book of Mormon' tinkered with that musical for seven years before it premiered. Everything good comes slowly - at least in theatre, is my view.'

'There are - unfortunately - not that many great women's roles in cinema, theatre, literature.'

Thelma & Louise has become a symbol of feminism, how did two men come to make this? Are they meta-jokes about feminism? 

'These productions are custom-written for actors, in this case for Plien & Bianca and Arjan Ederveen. That was partly decisive for the choice to make an adaptation of Thelma and Louise. Because there are - unfortunately - not that many great female roles in cinema, theatre, literature. And besides: a road movie on stage is actually impossible, and that is exactly what Pieter finds challenging; to see if he can still get it done. And in terms of content, it is a very interesting story. Besides being a modern classic, the film (from 1991) is also very topical: Thelma and Louise is #metoo 'avant la lettre.'

Contemporary identity

Writing contemporary musical could become a further tradition for the sake of identity and recognition. After all, to see the same well-known musical for the third time in your life is a bit much. Foreign repertoire can sometimes even be seen here relatively more often than in the country of origin. The fact that Dutch musicals can compete well has been amply proven by now. Think of Soldaat van Oranje, Als op het Leidseplein, Ja Zuster Nee Zuster, Kunt u mij de weg naar Hamelen Vertellen meneer, Zij gelooft in mij, Kruimeltje and many others.

Off Broadway

Abroad, most of the innovation is in the 'Off Broadway' musical, the small musical. With the demise of M-Lab, a tradition of its own has virtually come to a standstill in the Netherlands. Via the Sun House there is production, not development. With the big 'Broadway' musical, the old Dutch repertoire was developed in the past with subsidy money. Possibly they are ready for renewal here too. Otherwise, stagnation and decay in old titles is imminent.

In the context of inclusive working and policy, musical-writing might be worth considering. For though it may sometimes seem so, subsidy is not just for where one is struggling. New developments in a field with substantial potential are also important. Possibly it is worth taking a moment to look at definitions. While writing this article, the difference between opera, operetta, musical theatre, musical in the theatre and musical did not become much clearer. What is clear, however, is that high art or low art matters less for new policies.

More in reading in this series...

Part 1 - 'Playwriting flourishes says Taalunie' with Lot Vekemans continuing her State of Theatre, and Martine Manten on Toneelschrijfhuis.

'Playwriting is flourishing,' says the Language Union. Time for an exploration among playwrights.

Part 2 - 'A pool of pieces that do not find an audience is an erosion of the profession' with Sophie Kassies on how it used to be no fun at all in welfare due to a lack of appreciation and response, and Jibbe Willems on writing and skiing.

Playwrights and cultural exploration (2) Sophie Kassies: 'A pool of plays that don't find an audience is an erosion of the profession'

Good to know

The theatre sector opinion will be published on 16 February presented in Utrecht.