earlier blog post about discovering High Fidelity. My love affair started with the songs of course. But as I've said before, a great score is necessary but not sufficient. What's even more important is a great script. When I finally got to read the High Fidelity script, it instantly spoke to me. I could immediately see it in my head. I really understood how it worked. The same was true with Love Kills and Cry-Baby, but that doesn't happen all the time.
Sometimes it happens later, as it did for me with both Jesus Christ Superstar and Evita. Sometimes I just have to stay on the road and the answers will come. But sometimes I have to scratch and claw my way to that understanding. Some shows are just tougher nuts to crack. But not High Fidelity. Not for me anyway.
So here are the Top Five Things I Love About the High Fidelity Script.
The reason it's so hard to write a good musical stage script is that singing words takes more time than speaking them, so that leaves much less room in a musical script than in a non-musical script. The dialogue has to be a model of economy. It has to accomplish so much in so few words. The music provides the emotion, but the script provides much of the necessary information. Because we New Liners believe musical theatre is first and foremost about storytelling, nothing matters more in choosing a show than a solid script. As we often remind ourselves, musical is an adjective, but theatre is the noun.
We're all very lucky we get to work on material this strong and this artful. Some of us are lucky enough to get to work on it twice. Coming back to this rich script and score is such fun, as I get to find new and deeper moments all through the show, and find whole new areas to explore as different actors take on these fascinating roles. The adventure continues...
Long Live the Musical!