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A Talk Presented at the
29th Annual Conference on Outdoor Drama, Bardstown, KY, Oct 25, 1991

"WRITING MUSIC FOR OUTDOOR DRAMA�?�

By Billy Edd Wheeler

INTRO: At Yale Drama School John Gassner told my playwriting class:
"Plays are not written, they are rewritten." (READ: EXCERPTS FROM
MARSHA NORMAN'S TEN GOLDEN RULES FOR PLAYWRIGHTS.)

INTRO: Each outdoor drama presents its own challenges, problems, and
Opportunities. No set of GUIDELINES can apply to all. But, using my
last musical play YOUNG ABE LINCOLN as an example and point of reference,
let me say:

WHEN I WRITE MUSIC FOR OUTDOOR DRAMA I WANT IT TO?

1, HELP CREATE A SENSE OF PLACE,

* Study music of the period, hymns, dances, folk songs,
some of which may actually be used, original ones written
in the same style.

The Attitude, arrangements, songs, dances, transition
music, the instruments chosen to present or accompany
these things should all contribute to this SENSE OF PLACE.

2, HELP COMMUNICATE THE MAIN THEME,
ehacactec

* Just as there is ONE central,ain every play, there is also
one main musical theme. It is reflected in the OVERTURE,
if the play calls for one, and is established early, is
used as transition, as enhancement to pivotal dialogue or
statements, and finally is a vital part of the FINALE.

4, ENTERTAIN

* My philosophy in all forms of writing is that the
duty of the playwright/composer is to entertain first,
preach second. Messages must be slipped in most carefully
and sparingly. When the audience feels it is being preached
to it might as well read a pamphlet or propaganda brochure.

* Music helps entertain with production numbers, dances, humor.

4, MOVE PEOPLE, TOUCH THE AUDIENCE

* People who leave the theater laughing or crying, deeply
moved, will come back and tell others to come. Music allows
you to go for the emotional jugular, to inspire, move, touch.

5. CREATE CONFLICT, HEIGHTEN SUSPENSE, DEEPEN DRAMA

* Music can add depth to scenes and characters, enhance moods.

6, ADD DIMENSION, DEPTH, VARIETY, & MAKE TIME PASS

* Music makes other time zones accessible, even other locales,
other countries. It makes dream scenes work, and fantasy.

* Music, as often as possible, should help advance the plot.

6, CONTINUED,»

* Music helps open up the large outdoor drama stage while
battles rage or other mass movement is accomplished. It relieves
the eye of the viewer to see all that space utilized from time

to time.
Historical outdoor dramas often cover a large period of time,
making the playwright's job of focus and organic unity very

difficult to achieve. Music, and imaginative writing, can be
used to eliminate years, even decades.

/, MAKE THE AUDIENCE LEAVE FEELING NOURISHED AND FULFILLED,

TO DO ALL THIS I FEEL I MUST:

1, WRITE �?oINTERESTING�?� MUSIC, HOPEFULLY WITH A HIT SONG OR TWO IN THE
SCORE, IF THE AUDIENCE LEAVES FEELING NOT ONLY FULFILLED BUT
WITH UNFORGETTABLE MELODIES FLOATING IN THEIR HEADS, IT MAY BE
THE SIREN SONG THAT LURES THEM BACK FOR MORE,

2, MAKE IT �?oORGANICa�?� WELL WRITTEN PIECES HAVE A BEGINNING, A MIDDLE,
AND AN END, ALL RELATED TQ EACH OTHER, THIS MEANS WRITING THE
SHOW IN THE SAME �?oKEY.�?� (NOT REFERRING TO A MUSICAL KEY, BUT
THE PLAYWRIGHT�?TS PSYCHE-PERSONALITY-ATTITUDE KEY AS MANIFESTED
IN THIS PARTICULAR SHOW.,,EVEN IF COLLABORATORS ARE USED, )

3, MAKE A MUSICAL PROFILE OF THE SHOW, LOOKING AT THE PLAY FROM OVERTURE
TO FINALE, BALANCING SLOW SONGS WITH FAST ONES, LARGE pes FA oe
C

NUMBERS WITH INTIMATE SCENES. THIS HELPS THE PLAYWRIGHT/ COMPOSER
BE LESS INTIMIDATED AT THE START OF THE PROJEC] BY THE SUPPOSED
ENORMITY OF THE PROJECT. WHEN THE OBLIGATORY�?� NUMBERS ARE NOTED
IN THE PROFILE AND THE BALANCE STARTS COMING INTO FOCUS, THE BIG
JOB LOOKS EASTER AND THE FUN FACTOR STARTS TAKING OVER,

4, RESEARCH, RESEARCH, RESEARCH, AND PUT OFF THE WRITING/COMPOSING,
[IT IS A TEMPTATION FOR ME TO BEGIN WRITING TOO SOON, AT THE
FIRST IMPULSE, NOW I TRY TO WAIT UNTIL I JUST CAN T STAND IT,
THEN I WRITE. AFTER ALL THE FACTS AND RELATED MATERIALS ARE FED
INTO THE COMPUTER AND THE SONGS WANT TO BURST FORTH, THIS IS THE
TIME WHEN WRITING IS A PURE JOY, MY ARRANGER, DENNIS BURNSIDE,
DESCRIBED COMPOSING AT THIS STAGE AS BEING AT THE THRONE OF Gop!

MYSELF, DO I NEED A COLLABORATOR? IF YOU ARE HONEST, IF YOU NEED
ONE, GET ONE. YOUR SCORE WILL BE STRONGER FOR IT. IT IS BETTER
TO OWN PART OF A HIT PROPERTY THAN ALL OF A FLOP, YOU MAY NEED A
CERTAIN HEROIC QUALITY. A CERTAIN JAZZ QUALITY, SPIRITUAL FLAVOR,
OR CLASSICAL TOUCH THAT YOU KNOW IN YOUR HEART YOU ARE NOT QUITE
CAPABLE OF PRODUCING.,;..OR OF EVEN FAKING IT SUCCESSFULLY, SOii:
GET A COLLABORATOR, COMPATIBLE COLLABORATOR WHO SHARES YOUR
VISION AND_ATTITUDE WILL ADD VARIETY AND SUBSTANCE TO YOUR MUSICAL
NUMBERS. IN CASES LIKE THIS TWO HEADS ARE BETTER THAN ONE.

IN THE CASE OF YOUNG ABE LINCOLN I Fett I SHOULD wRITE ALL THE
MUSIC, BECAUSE OF ITS FOLKSY QUAL]TY, BUT I DID SEEK HELP ON A
FEW NUMBERS, MOST NOTABLY �?oSINBAD' S DREAM & DANCE.* GUITARIST CHET
ATKINS HELPED ME UNDERSTAND THE ARABIAN SCALE, HELPED ME WRITE
THE NUMBER, DENNIS BURNSIDE DID THE REST,

6, GET A GooD ARRANGER, A VETERAW, TALENTED PROFESSIOWAL ,