Rodgers, Sondheim, all seem unable to root out the 'fast buck' mentality that exists throughout so much
of the music world over Music Theatre. Is this simply pettiness, after all, there is a possibility of earning
six figure sums from shows, and I never yet met a rich art composer ( Quote Stravinsky to Gershwin,
'Young man, perhaps it is you who should be teaching me'), or do you think there is some other strange
reason for this? Every 'writer' I have met who considers Music Theatre to be a quick cash cow is either
hopelessly misguided, inept, or deluded, but there are SO many people out there who view the musical
as a ticket to a fortune. How do you appease the production team dreaming of a six month advance box
office cushion at the same time as appeasing your innate sense of musicality, drama and artistic
integrity? It's driving me insane, not least of all because I need to sell something to be able to write
more, therefore better!!!!!!! Any thoughts? (or possibly this comes over as the deranged ramblings of a
lunatic!) Many thanks, Paul Kessell-Holland (collaborator with Nick Scrivens on House in the Country)
Answer from Stephen Schwartz:
Dear Mr. Kessell-Holland: I think writers write what they would like to hear and the kind of music that
moves and interests them. I can't say commercial considerations don't come into it for any of them --
I'm sure there are people who become songwriters or composers because they think it will make their
fortune, particularly in the pop world. But certainly in the classical and musical theatre world, as well as
with the good pop writers, the motivation is love of the music itself. So I don't think writers should
worry about what is or isn't a first-rate or second-class art form any more than you should choose the
person you fall in love with based on his or her "class". I fell in love with the musical theatre form when I
was a kid, and the music I write for it is an amalgam of the classical, theatre, pop and folk music I loved
as a child and continue to love. I suppose I could have made more money if I'd fallen in love with "rap",
or in an earlier age, "disco", but I didn't. Similarly, I would probably have made less money if I had fallen
in love with the music of Schoenberg and the twelve-tone composers (which I also didn't.) The point is
that I don't think you can concern yourself with commercial considerations. I believe if you write what
comes from you, honestly from your heart, and if you have talent and perseverance, the rest will take
care of itself, usually in ways you could never have anticipated or planned for. Good luck! Sincerely,
Stephen Schwartz
Question About New (Altered) Lyrics
Question:
When a party asks for and receives permission to use one of your songs in something other than a show,
is your permission directly sought if the party wishes to alter lyrics? For instance, I've noticed David
Kelley has used your music in his shows (in Picket Fences and most recently in Ally McBeal). In the case
of Ally McBeal, "Think about your life, Pippin," became "Think about your life, Happy," in reference to
one of the characters. Did you approve this change directly or was it approved through an agency of
some sort? If someone else approves it, do they have guidelines supplied by you which dictates what
sorts of changes other parties are allowed to make?
Answer from Stephen Schwartz:
Good question. Usually I am asked for permission if someone wants to change a lyric for another use of
a song of mine. In the specific case of ALLY McBEAL, the truth is I had no idea the song was being used
until I saw the episode. I assume the show cleared the usage with EMI, who publish the PIPPIN score,
and because the only lyric change made was the substitution of the name "Happy" for "Pippin", it wasn't
felt my permission was necessary. At least, I HOPE that's the case. Actually since I'm a fan of the show, I
was delighted to hear one of my songs on it. But yeah, someone should have asked me. Thanks for your
question. Sincerely, Stephen Schwartz