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INDEX

1. Introduction ................................................................................................ 3

2.

Jukebox musical ......................................................................................... 4

3. Jukebox musical history ............................................................................. 6

3.1. Influences to the jukebox ..................................................................... 6

3.2. Revues and musicals ........................................................................... 7

3.3. The first jukebox musicals .................................................................. 10

3.4. The “Mamma Mia!” phenomenon ....................................................... 13

3.5. TV jukebox shows .............................................................................. 17

4. The book .................................................................................................. 20

4.1. The Plot ............................................................................................. 20

4.2. Characters ......................................................................................... 24

5. The score ................................................................................................. 28

5.1. Solos .................................................................................................. 28

5.2. Duets ................................................................................................. 30

5.3. Group Numbers ................................................................................. 32

5.4. Arrangements .................................................................................... 33

6. Producing The Musical ............................................................................. 38

6.1. The creative team .............................................................................. 38

6.2. The production team .......................................................................... 41

6.3. Getting to the stage ............................................................................ 43

7. Conclusion ............................................................................................... 45

8. Bibliography ............................................................................................. 46

8.1. Websites ............................................................................................ 46

8.2. Books ................................................................................................. 51

8.3. TV Series ........................................................................................... 51

8.4. Images ............................................................................................... 51

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1. INTRODUCTION

I can say my life happened to be in a turning point the first time I saw the TV

show “Glee”, which I will be talking about later in this project, and I was

marveled by musical shows and I started digging deeper in the topic and I found

out a lot of information about not only musical theatre, but also music in general.

In this last decade there has been a rising number of jukebox musical shows

production, such as TV shows, films and theatre shows. I have been impressed

by that huge amount of attention they are getting and I started to ask myself

why they were producing that many of them. Was it just for money? Or was it to

recover lost music?

All that questions were buzzing in my head at the same time I had the desire

of creating my own musical show. I have always been keen on musical theatre

and I even decided to dedicate my life to it. When the opportunity to join both of

my main worries in one single project came to me I did not have to think it twice.

It was the perfect chance for me to know more about this topic and I did not

want to miss it.

My objective in this project is to learn and share everything that one would

need to make his or her own musical, whether it is a jukebox or not. For that, I

aim to create and try to produce my own jukebox musical based on the songs of

one of my favorite singers nowadays, Adele. During this creation I hope to learn

everything I can about the business and, if it is possible, to love more this

musical theatre world.

Finally, I want to end this introduction to the project by saying that another

reason I am basing my work on musical theatre is the cancellation of “Smash”,

another TV show that was based on the creation of a Broadway musical which I

think is really faithful to the real world, leaving behind all the love stories

between the characters, and has made me reinforce my hopes to work, some

day, in musical theatre.

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2. JUKEBOX MUSICAL

A jukebox musical is either a stage, film or TV musical show that uses as its

main score previously released songs that have become very popular

worldwide. Usually but not always, a jukebox musical follows these rules:

• The songs are from a band,

group or soloist that have written them

or made them popular. For example,

ABBA’s most popular songs were used

in a musical called “Mamma Mia!”. It

can also be found that the songs arenot by a single group, but they share

some characteristics, like in “Rock of

Ages”, which uses popular metal glam

songs from the 1980s.

There also exist some musical films or

shows, like “Glee” or “Moulin Rouge”,

which do not follow any patter in the

way the songs are chosen, so they use

songs from a great variety of artists.

• The action is usually located in

just one scenario, something that is different from the “normal” musicals,

which use as many different locations as possible to impress. For

example, in “Rock of Ages” the action is mainly located around “The

Bourbon Room” or in “Moulin Rouge!” the plot is based on the building of

the same name.

This is because it is easier to fit as many songs as possible because

many stories can be happening in the same place at the same time.

• Related to the second point, the jukebox musicals use to have a lot of

main characters, usually stereotyped and based around a song. For

instance, “We Will Rock You” has seven important characters, “Mamma

"Mamma Mia!" has become one of themost important jukebox musicals in all time,setting a mark for other jukebox musicals to

be created.

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Mia” presents at least eight characters that can be considered as main

characters and “Across the Universe” has six main cast members.

• Opposite to traditional musicals, the plot is based around the songs,

usually becoming a biographical story of the artist, like in “Buddy – The

Buddy Holly Story”, based on the life of Buddy Holly, although there are

some musicals that have nothing to do with the artists’ lives. The plot also

follows more than one person’s story for the same reason given above. A

clear example for that is “Across the Universe”, which follows the love

story between Jude and Lucy, Jojo and Sadie and the story of Max,

Lucy’s sister.

This kind of musicals has not been received very well by the critics andreviews but somehow it seems to have managed to become the audience’s

favorite. That can be explained through the sense of the known that cause this

musicals, as opposite to other shows, the audience know what they are going to

hear.

"Rock o f Ages" bases its score in 1980s rock, which attracts the fans of t his mus ic genre.

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3. JUKEBOX MUSICAL HISTORY

3.1. Influences to the jukebox

Right around the 18th century, one of the most clear and important influences

on the jukebox musical appeared. The opera sub-genres “ballad opera”, as it is

called, used as its musical score some of the most well-known songs of that

time from a great variety of musical genres, from popular music to religious

music. Also considered as the forerunner of other forms, such as the operetta or

the singspiel, the ballad opera consists of satirical dialogues, with short songs

inserted among them. The lyrics to those songs were adapted to criticize not

only the injustice between higher and lower classes, but also the influence thatthe Italian opera of the period was having in England’s upper class.

The only example of ballad opera which is yet being performed is called “The

Beggar’s Opera” which was written in 1728 by English poet John Gay with

arrangements by composer Johahn Cristopg Pepusch. Opening at the Lincoln’s

Inn Fields Theatre in London on 29 January 1728, it received great success

becoming, with 62

consecutive performances,the longest run in theatre

history up then. What

made the opera that

successful, apart from the

satire in London’s society

then, was the use of

melodies that soundedfamiliar to the audience,

who could hum along and

for that allowing them to

relate better to the

characters and storyline.

Most of the tunes used in the opera were taken from Scottish poet Allan

Ramsay’s “The Gentle Shepherd” and two French songs. Some of other tunes

"The Beggars Opera" is an example to the ballad opera, oneof the antecessors o f the jukebox musical.

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were by big opera composers, such as Handel, but only the most popular of his

were used. By using other people’s melodies not only saved Gay the expense

of having to hire a composer, but let the audience also enjoy the feeling of the

familiar on stage, creating not only the first musical but also the first jukebox

musical.

As said before, the ballad opera gave way to the operetta, which is a genre

more similar to musicals, sharing with its ancestor the characteristic of a libretto

which is mainly spoken rather than sung. Opposite to the “serious” opera, where

the movement between musical numbers was almost invisible, ballad operas

and operettas have their musical pieces intersected with the dialogue. The main

difference between a musical and an operetta is the cast chosen to perform asin musicals dancing took precedence over the opera trained singing used in

operettas.

In England, the first operettas were composed in the 1860s. Gilbert and

Sullivan consolidated the genre which became widely popular in the U.S. and

Britain. Most of their major work, including H.M.S. Pinafore and The Mikado, still

have regular performances throughout the world.

3.2. Revues and musicals

Although the appearance of the musical as we know it nowadays does not

arrive until 1943 with Rodgers and Hammerstein’s “Oklahoma!”, American

operetta gave way to revues, a type of stage entertainment that combined

music, dance and comic sketches centered in a single performer. The revue

grew mainly during its golden years from 1916 to 1932, where it started to go

down until the musical arrived.

One of the top revue producers was Florenz Ziegfeld, who played a major role

in the developing of this genre by introducing the theatrical stereotype of “the

American Girl” with performers as Fanny Brice and Marilyn Miller, who sold the

optimism of the “Cinderella” woman, with the “dreams come true” idea that was

starting to get popular in 1920s America.

As in that time American culture was experiencing major changes, musicalsfollowed and developed a type of entertainment which was only a way for the

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audience to have good fun. Most of the storylines were based on nonsense

stories with daily situations which were familiar to the audience, like the ones

the Marx Brothers’ shows used to have. Those stories were simple and they

were also a way for the performer to show his or herself.

Related to the jukebox we can find the minstrel

show, whose major performer Al Jolson is

considered to be the world’s greatest entertainer.

Those shows consisted in a white performer having

its faced covered in a black mask of paint, which

expressed the bittersweet darkness of the

homeland, and singing famous work songs fromthe black people.

Alongside with the rise of jazz music and black

culture, on 23rd May 1929, “Shuffle Along” opened

with the first African-American people on

Broadway, being them the chorus and the composers. For their success,

Ziegfeld himself asked the chorus from the show to teach his own chorus. Also

in Harlem night-clubs, composer George Gershwin started to gainacknowledgement for his ragtime scores and said he was willing to write to

anyone who would perform his songs.

In 1927, with the appearance of the first talking

picture, “The Jazz Singer” starring Al Jolson, and

with the Wall Street Crash of 1929, Broadway

talent transferred to Hollywood where they made

pictures about New York City and the melancholyof Broadway that time.

During the Big Depression Broadway

experimented new forms of freedom for the artist

and soon, Cole Porter offered an escape to the

misery that America was immersed in with some of

the songs that have become classic jazz

standards, such as “Let’s Do It” or “Love for Sale”.

Al Jolson, one of the greatestperformers in Broadway's

history.

Cole Porter is considered to beone of the best song-writers in

musical theatre history.

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With “Anything Goes”, Porter accomplished to reflect the hope America was

receiving because of the Roosevelt recovery. It became an instant hit and it is

still a favorite choice of amateur companies to perform.

With Gershwin’s “Porgy and Bess”, which opened in 1935, musical theatrestarted to turn into a more important and serious thing. The musical, which is

considered to be a folk opera, reflected the life of black people in South

Carolina during the 1930s and also its music, which Gershwin had adapted from

the New York jazz and also taken some melodies from Jewish liturgical music.

After World War II, a new period in Broadway started with “Oklahoma!”. What

made that musical different from others was that the music also was part of the

story. Oscar Hammerstein II and Richard Rodgers reinvented the musical byhaving a well-craft story and a score which, for the first time, followed the book

instead of being the opposite.

After that, a war began between Rodgers and Hammerstein and Cole Porter.

Whilst the first ones enjoyed great performance success on Broadway because

of the new format of musical with “Oklahoma!” and “Carousel”; Porter remained

faithful to the old-fashioned ones. In Porter’s side, Irvin Berlin created “Annie

Get Your Gun” starring Ethel Merman, with “old-fashioned” hits, such as“Anything You Can Do” and “There’s No Business as Show Business”.

Hammerstein and Rodgers' "Oklahoma!" set a before and an after in mus icaltheatre by making the songs be part of the story.

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3.3. The first jukebox musicals

The first time the term “jukebox musical” was used was in the 1940s referring

to films consisting of hit recordings. In 1944, the first jukebox musical film was

being produced. “Meet Me in St. Louis”, directed by Vincente Minnelli andstarring Judy Garland, had his musical score adapted by Roger Edens. Most of

the songs in the movie, such as “Meet Me in St. Louis, Louis” or “Goodbye, My

Lady Love” were from around the time the plot is set, while some others were

Christmas standards as “The First Noel” and “Auld Lang Syne”. However, a few

songs were also written for the movie. These include “Have Yourself a Merry

Little Christmas” which has become a hit.

In 1952, Gene Kelly, DonaldO’Connor and Debbie Reynolds

starred in “Singin’ in the Rain”, which

was a modest hit when released but

has become one of the most well-

known jukebox musicals and ranked

first in AFI’s 100 Years of Musicals

list. “Singin’ in the Rain” was firstlymeant by MGM producer Arthur Freed

to be a catalog of his songs written

with Nacio Herb Brown for previous

MGM musical films of between 1929

and 1939. Songs, such as "Broadway

Rhythm", "Should I?", and most

notably "Singin' in the Rain," were

featured in numerous films. One

original song, “Make ‘Em Laugh” is

considered to have been written for the movie, although it is said to be a

plagiarism of Cole Porter’s “Be a Clown”, used in Freed’s musical, “The Pirate”.

In New York, jukebox still had some time to start developing as the musical

form established by Hammerstein and Rodgers was taking possession of every

theatre in Broadway. In 1958 “My Fair Lady” opened starring a young Julie

"Singin' in t he Rain" is the first hit musical jukebox ever.

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Andrews and Rex Harrison. The musical, which is based in “Pygmalion”, had a

huge success as it told a Cinderella story recapturing the “American Dream”

where anyone can change their lives for the better. As many of the successful

musicals on Broadway, “My Fair Lady” was later adapted to the big screen,

starring Audrey Hepburn.

One year later, in 1959, “The Sound of Music” opened on November 16. The

musical, based on “The Story of the Trapp Family Singers” received favorable

reviews, but also was criticized for “stage succumbing to the clichés of

operetta”, as Brooks Atkinson of The New York Times stated. This marked the

last work of Hammerstein II as he died of cancer nine months after it premiered.

Six years later it was also adapted as a film starring Julie Andrews andChristopher Plummer.

During the 1960s, during the

Beatlemania, The Beatles released a

series of comedy films starring

themselves where they used their

own songs as the soundtrack. “A

Hard Day’s Night” was released in1964 and portrays some days in the

life of the group. The film received

massive acclaim from the audience

and the critics as it is considered to

be one of the best and most

influential musical films of all time and

also “the “Citizen Kane” of jukebox

musicals” by Village Voice.

“Help!” was released in 1965 and is

a comedy adventure where the group

comes up against an evil cult. The

soundtrack of this movie was also

from The Beatles and was later released in an album of the same name as the

film. Critical reviews were also positive but many critics felt that there was a lessstrong effort than in “A Hard Day’s Night”.

The Beatles released a series of musical moviesfeaturing their own music in them.

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In 1979, the movie “All That Jazz” was released being directed by Bob Fosse

and starring Roy Scheider and Jessica Lange. The film, which is a semi-

autobiographical fantasy based on Fosse’s life and career, uses songs like

George Bensons’ “On Broadway”, Ethel Merman’s “There’s No Business Like

Show Business” and Peter Allen’s “Everything Old Is New Again” among others.

It received largely positive reviews and it won the Palme d’Or at the 1980

Cannes Film Festival.

Based on the band of the same name, “The Blues Brothers” premiered in

1980 starring Dan Aykroyd and John Belushi. The story tells the redemption for

ex-convict Jake and his brother Elwood by trying to save the orphanage where

they grew up. The movie features musical numbers by James Brown, CabCalloway, Aretha Franklin, Ray Charles, and John Lee Hooker and it includes

songs from The Blues Brothers and also Christian music. The film enjoyed great

reviews and has become a cult film because of its popularity. Later, in 1998, the

sequel of the film was released under the name of “Blues Brothers 2000”.

In 1989 the first jukebox musical as

we understand them nowadaysopened in the West End. “Buddy –

The Buddy Holly Story”, which is

based on the life and career of rock

and roller Buddy Holly, is considered

to be one of the first so-called

jukebox musicals as it features the

music of the artist whose name is inthe title, became the first one to be focused on just a single performer. It has

enjoyed an excellent run as it closed in 2002, twelve years after its opening,

making it one of the longest-running musicals in London history.

American screenwriter, director and actor Woody Allen took classic songs as

“Makin’ Whoopee” and “Looking at You” and fitted them into an up-to-date

situation in such a way that in 1996’s “Everyone Says I Love You” he created a

jukebox musical where music and dance felt more natural.

"Buddy - The Buddy Holly Story" is the first jukeboxmusical that enjoyed a huge succes on stage.

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3.4. The “ Mamma Mia!” phenomenon

A bomb exploded in jukebox musical history when “Mamma Mia!” opened in

the West End at the Prince Edward Theatre on 6 April 1999. Producer Judy

Craymer met songwriters Björn Ulvaeus and Benny Andersson in 1983 while

they were working on “Chess” and since 1997 they worked developing the

musical with Catherine Johnson writing the book.

The story is built around 20-year-old Sophie’s wedding where she invites her

three possible fathers so she can discover which one is hers and the love story

of her mother, Donna, with those men. The musical score consists of songs

from Swedish pop group ABBA, which featured Ulvaeus and Andresson, such

as “Money, Money, Money”, “Take a Chance on Me”, “Dancing Queen” and

“Mamma Mia”.

The show has enjoyed since then a huge commercial success as it has been

produced in more than forty different countries, including the USA, Germany,

China, Spain and Russia, since its opening in London. Its popularity is so big

that it has become the 10th longest-running Broadway musical of all time and it

can be said that at least seven performances of “Mamma Mia!” are being

performed in the world. In 2008 an adaptation of the musical starring Meryl

Streep, Pierce Brosnan, Colin Firth, Julie Walters and Amanda Seyfried came

out and became the highest grossing musical of all-time.

Spanish cast of " Mamma Mia!", the biggest jukebox musical ever.

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In 2001, Baz Luhrmann directed the

film “Moulin Rouge!” starring Nicole

Kidman and Ewan McGregor. Set in

1900s Paris, it tells the love story

between poet and writer Christian and

cabaret actress and courtesan Satine.

The film covers lots of popular songs

including “Lady Marmalade”, “Like a

Virgin”, “The Show Must Go On”,

“Diamonds Are a Girl’s Best Friend”,

“Material Girl” and “Heroes”.

This film also sets one of the first

times a mash-up or a medley is made

for a motion picture or a musical. The

“Elephant Love Medley” is a single song

consisting of pieces of other love songs

such as “I Will Always Love You”, “Silly Love Songs” and “Heroes” among

others. “Sparkling Diamonds” is a mash-up that mixes Madonna’s “Material Girl”

with “Diamonds Are a Girl’s Best Friend” made famous by Marilyn Monroe.

“Come What May” is the only song written for the film and it owned the movie a

one of its six Golden Globe nominations.

Receiving great box office ratings, it was named the best film of the year by

viewers of Film 2001. Because of its financial success, it helped to revive the

musical genre in films as many other musicals were adapted to the screen,

such as “Chicago” (2002) and Dreamgirls (2006).

On the stage side, following the success of “Mamma Mia!”, producers started

to bet on jukebox musicals and not many years later the next success

appeared. Since the mid-1990’s, Queen’s manager Jim Beach had spoken to

the band about creating a musical with their songs, intending it to be a

biographical story about Freddy Mercury. Although the original idea was found

difficult to work with, book writer Ben Elton suggested crating a story that

captured the spirit of the music. Finally, “We Will Rock You” opened at theDominion Theatre on 14 May 2002 where it is currently running.

"Moulin Rouge!" helped not only jukeboxmusical, but musical films to revive.

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Although the critics’ reviews almost

wanted to kill the show, saying the

libretto was just a way of fitting as

many Queen songs as possible, it

has actually become an audience

favorite as there have been

international productions in many

countries, such as Spain and

Germany, where people can enjoy

and hum along to songs like “Radio

GaGa”, “Under Pressure”, “I Want To Break Free”, “Bohemian Rhapsody” and

“We Are The Champions”.

Following the success of “Mamma Mia!” and “We Will Rock You”’, many other

jukebox musicals appeared, such as Billy Joel’s “Movin’ Out”, Peter Allen’s “The

Boy from Oz”, Rod Stewart’s “Tonight’s The Night” and The Beach Boy’s “Good

Vibrations”.

In 2007, another Beatle movie was made, but this time the plot had nothing to

do with the group. “Across The Universe”, starring Jim Stugess, Evan RachelWood, Joe Anderson, T.V. Carpio, Dana Fuchs and Martin Luther McCoy,

focuses on the love story between Jude and Lucy in the late 1960s which follow

a little group of friends that end up protesting against the Vietnam War.

The film features 33 Beatles compositions including “Let It Be”, “Hey Jude”, “I

Want to Hold Your Hand”, “Blackbird” and “All You Need Is Love”. It received

mixed reviews from the critics, some of which praised the “cutting-edge visual

techniques, heart-warming performances, 1960s history and the Beatlessongbook” while others criticized the lack of coherence in the plot.

By that time, in Los Angeles there was a jukebox musical that used as its

score the music of not only one but many glam metal bands from the 1980s,

including Journey, Whitesnake, Poison, Guns N’ Roses and Bon Jovi. That

musical, titled “Rock of Ages”, succeeded in expanding the type of audience by

targeting a whole generation who would recover the songs they used to listen.

“Rock of Ages” reached Broadway on April 7, 2009, and the West End on

Al though reviews hated "We Wil l Rock You" , ithas become one of the audience's favorite.

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August 31, 2011, and both productions have become one of the audience

favorites.

The show is locate in 1987’s Hollywood club “The Bourbon Room”, where the

stories of aspiring rocker Drew Boley, aspiring actress Sherrie Christian, ownersLonny Barnett and Dennis Dupree, City Planner Regina and rock star Stacee

Jaxx fight against a motion to clean the streets from the “sex, drugs and rock-n-

roll” lifestyle promoted by Franz and Hertz, two German developers.

Following the success it had on Broadway, the film rights for the adaptation

were sold to Warner Bros. and New Line Cinema and the result came to a

theatrical release on June 15, 2012. The film starred big film stars like Tom

Cruise, Alec Baldwin, Paul Giamatti, Russell Brand and Catherine Zeta-Jones,R&B singer Mary J. Blige, and newcomers Diego Boneta and dancer Julianne

Hough in both male and female lead characters.

The film received mixed reviews, most of which stating that the plot was

overlong as it become a movie and acknowledging Cruise for its great

performance as Stacee Jaxx. Although it has the seventh-highest opening ever

for a musical movie, “Rock of Ages” failed to gain back the budget that was

invested in the production.

Although the uncertainty that had fallen over the jukebox musical, Broadway

continued producing that type of shows, some of them achieving great

reception. Some of these include Michael Jacksons “Thriller - Live!” Green

Day’s “American Idiot”, Frank Sinatra’s “Come Fly Away ”, Elvis Presley, Jerry

Lee Lewis, Carl Perkins and Johnny Cash’s “Million Dollar Quartet and Spice

Girls’ “Viva Forever!”.

"Rock of Ages" recreated the 1980s rock scene.

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3.5. TV jukebox shows

On May 19, 2009, with the airing of the

pilot of the TV show “Glee” a mark was set

in jukebox musical history. First conceivedas a film, the show tells the story of New

Directions, a choir competing in show choir

competitions nationwide, following the lives

of each and every member of it, including

their teachers and families. The show also

deals with big topics, such as bullying,

homosexuality and racism, which havehelped the show gaining the praise of many

collectives.

Produced by Ryan Murphy, Ian Brennan

and Brad Falchuk, the show features on-

screen musical performances with chart hits

and show tunes, selected by Murphy to fit in the plot, who said about the easy

approval of the use of the songs by the record labels: “I think the key to it is theyloved the tone of it. They loved that this show was about optimism and young

kids, for the most part, reinterpreting their classics for a new audience”. There

are also some artists that have denied the use of their songs on the show,

which has come to public confrontations between them and Murphy. The music

of this numbers is later released for

commercial purchase and, because

of the success of the show, the Glee

Cast has become the artist with more

songs on the Billboard Hot 100 chart,

surpassing artist like The Beatles and

Elvis Presley.

The show, starring Dianna Agron,

Jacob Artist, Melissa Benoist, Chris

Colfer, Darren Criss, Jessalyn Gilsig, Blake Jenner, Jane Lynch, Jayma Mays,Kevin McHale, Lea Michele, Cory Monteith, Heather Morris, Matthew Morrison,

"Glee" is until today the biggest musicalTV series in the history of musical

entertainment.

This TV show has helped new generationsrediscover lost of classic songs , which is one of

the benefits of a jukebox show .

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Alex Newell, Mike O'Malley, Chord Overstreet, Amber Riley, Naya Rivera, Mark

Salling, Harry Shum, Jr., Becca Tobin and Jenna Ushkowitz, has been

acclaimed worldwide and has received until today six Emmy Awards, four

Golden Globes and three Grammy Awards nominations among others. Many

critics have given the show positive reviews mostly because of its musical

performances and its optimism.

Still on air after four seasons and currently airing season five, on October,

2013, Ryan Murphy announced that the sixth season of the show will be the

final season of the series because of the death of male lead Cory Monteith a

few months before.

The American network NBC started the run of “Smash” on February 6, 2012.Created by playwright Theresa Rebeck, developed by Robert Greenblatt,

produced by Steven Spielberg and starring Christian Borle, Jack Davenport,

Megan Hilty, Anjelica Houston, Jeremy Jordan, Katherine McPhee, Debra

Messing, Andy Mientus, Leslie Odom Jr. and Krysta Rodriguez; the series

follows the development of a new Broadway show around the life of American

actress Marilyn Monroe from its first conception to its reception at the Tony

Awards ceremony, called “Bombshell”.

Opposite to “Glee” which almost only used songs from other artists, “Smash”

had its music written by Scott Whittman and Marc Shaiman, leaving the covers

of other songs only for auditions and inner character thoughts. As in “Glee”,

most of the songs were released for sale under Columbia Records. The series’

"Smash" , a jukebox TV show that fol lowed the development of a musical on Broadway.

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soundtrack was released under the name of The Music of Smash and The

Music of Smash – 2, with the first one debuting on the ninth position on the

Billboard 200 chart.

Its pilot episode received hugepositive reviews, most of them

instantly comparing the show with

“Glee”, but as the season went on,

those reviews started to became less

positive. It is said that because of

intern confrontations between Rebeck

and the rest of the creative team, theshow had lost the quality that

promised in the pilot. The ratings for the show were not quite high and fell down

during its run, culminating on the cancelation of the show on May, 2013 and the

burning of the rest of the episodes on season 2 on Saturdays, considered to be

the worst day for a show to air.

Sadly, because of problems inside the creative

team, "Smash" lost its fi rst ratings and ended upbeing cancelled.

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4. THE BOOK

Also called the libretto, the book is basically the written part of a play or a

musical. It contains all the dialogues and lyrics to the show and, most of the

time, a brief analysis of the main characters and their stories so the actors and

the director can understand better what the show is about. To write a book we

have to take into account a series of elements, such as the plot and the

characters.

4.1. The Plot

The story for a musical must be clear and easy to follow, so the audience, no

matter their level of comprehension, will be able to understand all the action

happening in the stage. As we are trying to write a book for a jukebox musical,

the story line is probably going to be tied to the meaning of the songs, so it

sometimes can feel a little bit pushed.

Although most of the successful

musicals which still have good runs

nowadays are adaptations from novels ormovies, such as “Les Misérables”, adapted

from the novel of the same name by Victor

Hugo, or “Wicked”, based on the novel

“Wicked: The Life and Times of the Wicked

Witch of the West” by Gregory Maguire; as

the jukebox is tied to the songs (as said

before), our story will have to be an original

one.

Modern librettos are written in a two-act

form, which makes a librettist write a good

ending to Act One if he wants the audience

to stay for Act Two. Even though the first

act does not need to end in a cliffhanger, it is compulsory to create a certain

atmosphere so the audience would like to know more about the story line. For

"Wicked: The Life and Times of theWicked Witch of the West", the base to the

musical "Wicked".

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example, the end to Act One in “Spring Awakening” leaves teenagers Melchior

and Wendla, the main characters, having sex in a late 19th century Germany; or

in “Wicked”, where Elphaba flies away after facing the evil Wizard of Oz.

Even if the Act One finale may seem the most important of the show, it is

actually the Act Two finale the one which has to leave the audience with a big

powerful ending scene that has to clear up all of the problems proposed in the

previous scenes. For example, the end of “A Chorus Line” is a big final dance

scene that starts with the chosen

dancers and ends bringing up all the

ones who had been eliminated from the

selection during auditions. Also, in “LesMisérables”, the finale brings back from

the dead as ghosts all the characters

taking Jean Val-Jean to the eternal rest.

For the musical I intended to create, I invented a story about relationships,

where different couples face their problems near the wedding of two of the gang

they are in. I also diveded the plot in two acts, trying to separate the story in two

big different blocks: the night of the bachelore party and the wedding day.

Act One

The story begins with Adele breaking up with Charles after two years of

relationship. Then Adele heads to her best friend’s bachelorette party at Julia’s

apartment, where she tells her friends about the break-up. Near the apartment,

Charles is also at his friend’s bachelor party in a bar called “The Panda Flesh”,where he tells his side of the story, showing that he is still in love for Adele and

would do anything for her.

Back at the apartment, Julia tries to cheer Adele up by telling the story of how

she broke-up with her husband Jude and how it is better to live without a

partner if they do not make you happy. Meanwhile, at the bar, Charles’ friends

are also trying to cheer him up by trying to make him feel less guilty about the

break-up.

"Les Misérables" Act 2 finale.

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Again at the apartment, the girls have been drinking for a while and start

daydreaming about their ideal boy. At the bar, the boys also have been drinking

and Jude starts feeling lonely and missing Julia, so he picks up the phone and

calls her, but she does not answer. Instead, the girls are fooling around about

being tired of looking for they dream guy.

Reaching the end of the night, the boys are talking about how they always

have to look like they are grateful for everything their lovers do or say to them.

Then, the soon-to-be husband Paul gets upset because he feels his friends do

not appreciate marriage as he does, while in the girls apartment, the soon-to-be

wife Grace bursts into tears afraid that his fiancée turns out to be like the boys

her friends are laughing about.

Then both groups apologize to their respective fiancée and show their full

support to the wedding. The act ends with Adele and Charles going their own

separate ways while the days to the wedding are rushing by.

Act Two

The act begins with the wedding, with Paul and Grace promising fidelity toeach other. Just when the ceremony is about to finish, Elizabeth, an ex-

girlfriend of Paul comes out of the blue and makes a scene that makes Grace

feel not sure about the marriage.

At the reception, Grace still feels upset about the appearance of Elizabeth

and while Amy, Grace’s sister, is singing their song, she runs away with Paul

following and asking her if she still loves him. After solving the problem, the

reception goes. Adele and Charles both attended the wedding with a different

partner, Albert and Kate respectively. Adele meets Kate at the bathroom and

they get on a fight for Charles, forcing Kate to leave the reception without

saying a word.

In the ballroom, Jude and Julia are arguing because she has not been talking

to him since they broke-up and he feels like he needs an explanation. Adele

comes to help her friend, pointing out that he did no good to Julia, who gaveeverything to that relationship. Then Charles appears and gets on Jude’s side

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and starts arguing with Adele about their break-up, realizing that they both miss

each other, which leaves the two of them very surprised.

After the argument, Charles takes Adele to a quiet place and tells her that he

still loves her and that he knows that she still loves him, something which she

accepts. That leads to both of them asking themselves why they broke up in the

first place, but then realizing they are not meant for each other.

The musical ends with a scene where Charles shows that, although he won’t

be with Adele, his live will move on. He is later joined by Adele and then the full

cast, leaving the audience wondering what’s next for the characters.

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4.2. Characters

The characters in a musical can vary from age, sex and race, but they all

have something in common: they are easy to relate to. For that reason, the

audience can join them during the plot. One has to be careful not to rely onstereotypes while not making a character too difficult to understand. Most of the

time, each of every character have something distinctive, which, if combined

with all the other distinctive features of the other characters, end up building a

normal human-being.

When writing a character it must be taken into account everything that is

possible to be known about them. As nobody knows how they really are, apart

from the book writer, there is no specific way a character should be, although

they follow some patterns, like the main hero, which is always someone who

confronts a tragic difficulty which extends until the end of the musical. For

example, in “Mamma Mia!”, the main character Sophie wants to know who is

her father, something which isn’t even revealed.

The number of main characters in a jukebox musical tends to be higher than

in “normal” musicals because it is easier to fit different songs to differentcharacters and as the goal of the jukebox is to have as most songs of the artist

as possible, this makes the task easier to complete.

Again, for the project of musical I present, I tried to create some possible

characters that would fit the needs of the plot. I also tried not to make them too

stereotyped, as I usually like better the characters that seem more human. The

characters, in order of importance in the musical, are the following ones:

Adele

She is a girl in his late twenties. She was raised in a middle-working class in

a suburb in New Jersey before leaving her nest to study Arts in NYU. While

having some of her paintings exhibited in an art gallery every now and then,

Adele pays her bills working in “Barns & Noble”, a bookshop near her flat. She

met Charles, her boyfriend, in her friend’s wedding, when they were introduced

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to each other by Jude and Julia. She would describe herself as ambitious and

independent, although caring and a friend to her friends.

During the show, Adele breaks up with Charles just because she feels she

needs to, showing that she is a bit impulsive. That later becomes some kind of

regret but, with the support of her friends, she begins to feel less guilty with her

choice. In the second act, Adele faces Charles’ new girl, letting us see that she

is jealous of her and that she might still love her ex-boyfriend. Still, in the

outside she still refuses to accept that she loves Charles, but in the end, after

his insistence, she accepts that love, but does not want to be with Charles

anymore.

Charles

He is a man in his early thirties. His parents died in a car accident so he was

raised by his grandparents instead. He is lived in New York his whole life. He is

a struggling writer who teaches wannabes in a social center. He met Adele in

his friend’s wedding. He would say he is a man who does not care much about

his appearance and that likes to live life as there was no day but today.

In the beginning of the musical, his girlfriend breaks up with him, something

that affects him very much because he had already imagined his life with her.

He tries to find a reason why she left him but, with the help of his friends, ends

up with not caring much about it. In the second act, his love feelings for her

show up again and he spends the rest of the reception trying to win her back,

something which doesn’t happen.

Julia

She is almost thirty years old. She could be described an independent

woman who once was a darling and loving girl but got her heart broken and

since then hates men. She is friends with Grace, Adele and Amy and was once

married with Jude, but he cheated on her with another woman. She could be

seen as a modern Rizzo.

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In the show, Julia tries to cheer Adele up by looking down on men. At the

wedding reception, she faces her ex-husband again and she simply can not

bear looking him at his face without bursting with anger.

Jude

He is in his early thirties, almost thirty-five. He is a total loser and pathetic. He

used to be very talkative but since Julia broke up with him for cheating on her,

he is been more and more quiet and secretive. His only desire is getting her ex-

wife to forgive him for what he is done.

In the show Jude appears the loser he is, making just the right interventions

to be the killjoy of the night. He is always seen worried, like he is thinking on

something. In an outburst, he calls Julia to ask for her forgiveness, although she

made clear she would never talk to him again. At the reception, he is begging

down on his knees for Julia to say a word to him, but ends up arguing with her

when she blames him for everything that went wrong in their marriage.

Paul

He is in his thirties. He is been dating Grace since he was twenty-three and

has finally decided to propose to her. He is an architect who can be described

as a loving and caring man who is really in love with his fiancée.

The musical is built around his bachelor party and wedding and after hearing

that Adele and Charles have broken up, he starts doubting his love and the

whole institution that marriage is, but he gets over it and marries Grace in the

beginning of the second act. During the wedding, an ex-girlfriend of him showsup and almost ruins it, but he is clever enough to calm down his wife.

Grace

She is in her late twenties. She has been dating Paul since she was twenty

and he proposed her in what she would like to call “the perfect proposal”. She is

happily in love, although she is very insecure about herself, something that

sometimes leads to her thinking she is not enough for Paul.

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Her bachelor party and wedding are the locations for the plot. She tries to

cheer Adele up after her break-up, but, just as Paul, starts having doubts about

marriage. Finally, she marries him, but gets pretty depressed when Elizabeth,

Paul’s ex-girlfriend, shows up and causes a scene. Her insecurities show up

again, but are later calmed down thanks to Paul.

Amy

She is in her early twenties. She is a biology student and lives in a student’s

dorm. She is Grace’s sister and is in the bachelor party, as she is one of the

bridesmaids. She is in a not-really-serious band that is invited to sing at the

wedding. She is cheerful and energetic and has all the vitality that comes withyouth.

Michael

He is twenty-five and a friend of the guys. He has just ended his studies in

Economy and is working in his father’s corporation. He is the most childish of

the group.

Kate & Albert

They are the dates Charles and Adele bring to the wedding. They are both in

their late twenties and do not really know much about their dates. Kate is

attacked by Adele in the bathroom and they start a fight. Then she decides that

Charles is not worth to put up with his “crazy ex-girlfriend” and leaves the

reception without saying goodbye. Albert is just seen with Adele, but he is a

mute character.

Elizabeth

She is the crazy girl who is obsessed with Paul ever since he broke up with

her. They only last a week, but she is been following him ever since. She shows

up at the wedding without being invited and begging Paul not to forget her.

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5. THE SCORE

This is the side of the show that makes it different from other musical theatre

formats. The score, which is basically the music in the show, is created from

songs not written for a musical stage. For example, “Moulin Rouge!” uses

popular songs as its musical score. What is typical for jukebox musicals is that

all the songs have something in common, such as the artist, like in Queen’s

“We Will Rock You”, or the decade or music style, like in the 1980s rock “Rock

of Ages”.

For this musical, the songs that will be

used are from British singer Adele, andsince the normal number of songs in a

musical is between 20 and 25, we will be

using every song she has published in

her two albums, which is a total of 23,

without counting the bonus tracks, which

will not be used. The reason Adele’s

music is been chosen is because of herlatest world-wide success, apart from the

easiness that her songs can be fit in a

scene.

Songs can be divided by a lot of classification, but we are going to fit them

following the number of the singers and the aim of the song.

5.1. Solos

A solo is a song sung by one character, usually a main character, to express

their thought, whether it is to the audience, to him or herself or to the rest of the

cast.

The first solos that usually appear are the “introductory solos” , which are

sung by a main character and explains why he or she is the main character and

lets the audience glimpse their story. A good example is “Spring Awakening’s”Mama Who Bore Me, where Wendla introduces herself by asking her mother

Adele Adk ins, the best-sel ling art is t in 2012

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about taboo topics that time, while starting to explore her body. This specific

song sets the scene in a very conservative world and helps to create the right

atmosphere.

In our musical, one of the introductory solos will be Right as Rain, sung by

Julia. In that song we will meet her character as she will explain us she, as the

lyrics say, “chose to be alone” because she has already “cried her heart out”

and how happy is now with her new life.

Another type of solos that usually

appear in musicals are the “I want…

solo” , which is sung by a characterthat has a special motivation to go on

during the story. For example, in

“Wicked”, Elphaba sings The Wizard

and I when she realizes she will be

able to ask the wizard what she

wants, which is to be “degreenified”.

Our own “I want…” solo will be I’ll Be Waiting, sung by Jude when being

drunk. In the song, Jude tells Julia and the audience that he will be waiting for

her “when she’s ready to love him again”, asking for forgiveness about the

things he’s done wrong.

The next solo we could find is the “in-depth solo” , where a character

exteriorizes his or her thoughts after dealing with the conflict that is thrown at

the character so the audience can know how they feel about it. In “RENT’s” Another Day, Roger finds himself kicking Mimi out of his house when he

realizes he starts having feelings for her but won’t be able to be with her

because of his disease.

Take It All will serve as this kind of song, where Adele will be defending her

friend Julia in front of her ex-husband, telling that she feels like she did all he

could but it was not enough in the end to make him happy.

Idina Menzel performing The Wizard and I from"Wicked"

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One of the most common solos in musicals is the “ why don’t you love me?

solo” , in which, as its own name explains, a character shows his or her love to

another one who does not love back. In “Les Misérables”, Éponine sings On My

Own when she accepts that Marius won’t love her as she does.

In our musical Paul sings Don’t You Remember to Grace when she runs

away in the middle of the reception scared. This song is used by Paul to make

Grace remember their love for each other so she would calm down. Someone

Like You will also be considered this kind of solo, as Elizabeth, the crazy ex-

girlfriends will ask Paul exactly why he does not love her.

A typical solo in jukeboxmusical is the “concert solo”

which is mainly a song that it is

sung to fill the plot with no special

meaning. It is sung, as its name

says, like a concert. In the “Rock

of Ages” movie, many of the

songs, such as I Wanna Rock or

Don’t Stop Believing, are sung in

an actual concert. The songs can have a meaning to the character but they

actually do not help the plot to evolve.

Amy will sing Make You Feel My Love in the wedding reception because she

was asked to as part of the entertainment. The song will be said to be the just-

married couple’s favorite but will have no importance in the plot.

5.2. Duets

A duet is a song sung by two of the characters in the story, usually the main

character with another one or a character and its antagonist. The chorus or the

whole ensemble can take part in a song and it will still be considered a duet as

long as there are two lead vocals who sing most of the song. It is normally

conceived as a dialogue between those two characters. It can also be a song

Diego Boneta performin I Wanna Rock from the"Rock Of Ages" movie.

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divided in two different scenes where the same action is happening at the same

time.

The “ love duet” is the most common one, as in every musical there is a love

story that receives at least one of the songs in the score. For example, in

“Mamma Mia!”, Sky and Sophie sing each other the duet known as Lay All Your

Love On Me, where they express the love they feel for one and other.

In our musical the love duet will appear at the begging of the second act,

where the song One and Only will be used for the wedding ceremony by Paul

and Grace to promise their eternal love. Rolling in the Deep is also a love duet,

but it is used for Charles and Adele to realize that they are not meant to be with

each other.

Another usual duet is the “ confrontation duet” , where two characters face

each other, either in a positive or a negative way. Almost every musical has its

confrontation duet, like in “Les Misérables”, where there is a song which is

simply called Confrontation, sung by Javert and Val Jean, the two main

characters who face each other after years of the first chasing the second.

Dominic Cooper and Amanda Seyfried performing Lay All Your Love On Me from the movie "Mamma Mia!"

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My Same, where Jude and Julia argue with each other at the wedding

reception, and Rumor Has It, where Adele and Kate fight over Charles in the

bathroom will be our confrontation duets. Set Fire to the Rain is also a

confrontation duet between Adele and Charles.

The “two-situation duet” is common

when, as said before, the same situation

affects to two different characters in two

different locations at the same time.

Summer Nights from the musical

“Grease” is a clear example, as the T-

Birds are in the courtyard asking DannyZuko about his summer, while the same

is happening at the picnic zone with

Sandy Olsson and the Pinks Ladies.

This type of duet will appear in our

musical with the song He Won’t Go,

where both Paul and Grace are considering their marriage, each at their

respective location in that moment.

5.3. Group Numbers

A song can be considered a group number when one of the lead vocal

harmonies is sang by a group. Usually a group song is used to put a character

outside of his or her own inner world and see how the surroundings respond to

his or her thoughts. When this type of songs appears, every time a character

sings alone, they become a soloist to that song. A group number can also be

usually found at the end or the beginning of an act, when a change of set is

needed.

First of all, we can find the “ reciprocal number” where a character interacts

with the “outside world” or vice versa so we can see both points of view without

having to create separate songs for it. An example for that is The 20th Century

Fox Mambo from the TV show “Smash”, where we see how Marilyn starts to

The cast of " Grease" performing SummerNights.

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enter the world of moviemaking and how she changes because of the

influences outside.

Best for Last and Cold Shoulder sung by the whole male ensemble will be

considered a group number, as all of the boys will be singing while sniggering at

women. Tired, sung by the girls, will serve for the same purpose but it will be

the girls who al laughing at boys.

The “opening / conclusion

numbers” are those ones who

appear at the begging or at the end

of an act. They serve as apresentation to the situation or as a

conclusion to it. They usually start

with one character as a soloist and

the rest of the cast joining afterwards.

In the musical “Les Misérables”, the

group song One Day More is a clear

conclusion number to Act One as it appears at its end and explains where the

character is when the curtain falls down before the interval.

At the end of Act One Hometown Glory, and at the end of Act Two Chasing

Pavements, will be used as a conclusion number to each act, showing how both

main characters feel that moment about their lives and leaving each act with a

more abstract end.

5.4. Arrangements

Although the objective of a jukebox is to stay as true as possible to the

original work of the artist, there must be some changes to adapt the songs to

the stage. An arrangement is basically an adaptation of a song by changing one

or some the aspects of it, such as the instrumentation, the tonality, or even

adding harmonies to the melodies already written.

First of all, instrumentation is the change of the song so it can be adapted toa different instrument or group of instruments from its original recording. As we

Cast of “ Les Misérables” performing the Act Onefinale One Day More

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are trying to create a musical show, and one of its main objectives is to impress

the audience with its music, we have to set out whether it is worth to change the

instrumentation of the original song or not.

If we compare Adele’s songs to other Broadway songs we may find that there

is a lack of variety of instruments, or we even have the feeling that they are a

little too clamed for the stage, but the audience who will come to the theatre

may already know the songs so there is no need to adapt the songs because a

jukebox musical sells better when the audience find the songs as similar as the

originals. We can also play with the factor that in some minimalist shows, music

is also minimalist and does not require such spectacular sounds.

As to changing the tonality of a song we have to take into account several

aspects, such as the original key and the vocal range we want the character to

have. For example, if the highest note of a male solo is an A4, we can not give it

to a bass singer as its highest note is usually an E4. Then we either have to set

another type of vocal range to the voice or we can transpose the song, which

means moving the whole musical composition up or down in pitch. In the

example given, the song should go down five semitones.

It has also to be taken into account that Adele’s songs are written for her

voice and that she has the vocal range of a contralto, which is the lowest female

voice type. This gives some advantage as we are sure her songs will not be

very high for women to sing in full voice. The problem comes with male vocal

range, which is usually lower than female ones. This problem can be easily

solved by singing the song one perfect octave, but it may sound a little weird to

our ear. If we find ourselves with the problem that a song is too high for a manto sing it, before jumping the octave try lowering its key. Remember that if the

show is taken to a stage, there will be live accompaniment to vocals and that it

will not sound as bad as one may imagine.

The most important part of arranging a song for the stage is harmonization,

which is based on creating an accompaniment to the melody using the overlap

of different notes, pitches or chords. While most of the recorded songs may

already have their own harmonies, they sometimes can go unnoticed to the

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untrained ear. In a musical theatre piece, most of the songs have their

harmonies and, as they are sung live, they are more noticeable. In duets and

group numbers, the most normal thing to happen is to have different melodies

for each of the lead vocals.

Harmonies can affect the audience in different ways because they succeed in

creating different atmospheres. For example, Do You Hear the People Sing?

from “Les Misérables” ends with all the cast harmonizing the last words, which

creates the feeling of unity but at the same time it also makes each individual

stand out of the crowd. But before rushing to create harmonies for the songs,

we first have to think which songs need them, because if a show has harmonies

in every song, they lose their value.

The easiest way to create a harmony is to create a perfect third mayor

interval above or under the melody, like in the following picture. This type of

harmonies can also be made with any of the other music intervals. They are

used when both melodies are equally important, although the main melody,

which is the one the audience already knows, is the one that stands out. We will

take Chasing Pavements which is written in a “C minor” key.

Another simple way to create harmonies is to make the chorus sing single

long notes to the chords as part of the accompaniment, usually this note being

the tonic of the chord. These are more used in solos or duets, where the lead

vocal is more important than the harmony. We will be using Turning Tables

which is also written in a “C minor” key.

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Another way to create harmonies is to simply create another melody in the

same key, playing with the intervals and the chords. These are usually used in

duets, where both melodies are important so they both can stand out equally.

We will take the chorus from Rolling in the Deep, which is again written in a “C

minor” key.

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Usually, in group numbers, there is a combination of the second of third way of

creating harmonies, as some sing the leading voices while the chorus or the

rest of the cast sing the backing vocals. For this reason we are using the chorus

of our Act One ending, Hometown Glory, which is written in a “B♭minor” key.

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6. PRODUCING THE MUSICAL

When you have chosen the musical you want to take to a theatre, it is time to

start all the process. First, before performances or even rehearsals, you have to

choose the people you are going to work with by a selection known as

auditions. These consist in letting the people interested in the project show what

they can do to make the show better.

This people are divided into two categories: the creative team and the

production team. Usually the first one do not get only one audition, as many

people may come and try out for the roles, so they have to pass another

audition known as callback. These callbacks are used to have a more in-depthlook to the work of the aspirants. However, the production team may not have to

pass an audition, as their work is merely in offices or not in a creative objective.

To illustrate some members of each team, we are going to use the fictional

character to NBC’s TV show “Smash”, which show the process of creating and

developing a musical.

6.1. The creative team

As its own name says, the creative team is a formed by a group of people

who work together, so no decision is made without taking into account the other

aspects of the show.

When a musical is being

developed, the first roles that

appear are the ones of the librettistor book writer and the composer

and lyricist. As we have just seen,

these two roles have the task to

create the base of the work as they

create the story and the music. As

we are talking about jukebox

musical, there is not the need of a

Tom Levitt (played by Christian Borle) and JuliaHouston (played by Debra Messing) are the

composer and lyric ist and book writer, respectively,

of the fictional musical "Bombshell"

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composer and this role is occupied by the orchestrator, who is the one that is in

charge of any of the musical arrangements we talked before, and most of the

times also fulfills the role of the music director of the show, who is the manager

of the orchestra, although in most production an additional conductor is also

hired as the musical director is frequently absent during performances.

The next role cast in the creative team is the role of the director of the show,

who will be the one making major decisions and changes during rehearsals, as

he is the one responsible to guide everyone else in the team. For example, the

director’s choices can go from deciding how a sentence should sound like to

adding one or two lights to the scene.

The casting of a director is a verydifficult task because he is the one

who has to work with all the rest of

the team and, therefore, if a director

does not live up to the expectations

needed for the show, the whole team

will fail to give their best.

Another member of the team is the

choreographer, who is the one in

charge of all the dance moves that

will be upon stage. These dance

moves have to help to give a more

compact visual effect in the show,

that meaning that there can’t be any

move that it isn’t justified. Most of the times, the choreographers have to work

very closely to the director and in a lot of productions, the directors have ended

up being the choreographers themselves.

As said in pages before, musicals try to be very shocking and that big sets

are built because of that. The person who is in charge of creating those sets is

called the set designer, who does not only have the responsibility to make them

look realistic, but also has the obligation to try to make them as easy to changeas possible so it will not delay the waiting. For example, if in our show we want

Jack Davenport plays di rector Derek Wills,who also serves as the choreographer to the

show.

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to change fast from the girl’s apartment to the bar, or we want both them on

stage in the same time, the set designer has to deliver a suggestion of work that

allows that to happen quickly.

Another important visual aspect of the show is the costume design, which

consists of all the clothes that the characters will wear on stage. The costume

designer has to make those clothes in a way that they feel comfortable enough

to dance in it, apart from trying to make them last as long as possible. Make-up

and hairstyling are also part of costume designing because there are times

when a really drastic characterization may be needed.

Maybe being two of the most neglected roles of the creative team, the light

and sound designer are maybe the most important because it does not matter

how good is a show if the audience can not see or hear anything. The first one

is in charge of choosing the lights that are thought best to create the

atmosphere needed for the scene. The second one’s role is basically managing

the amplification system so everything is heart in its right volume. This role’s

importance can vary because of the size and equipment of the theatre. For

example, in a small theatre with very good acoustics, maybe amplification is notneeded at all.

Costumes for the also ficti onal musical in "Smash", " Liasons: The Musical".

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Although sometimes also considered part of the

production team, the actors, dancers and other

members of the ensemble, are also part of the creative

team. They are the ones in charge of portraying the

characters that have been created and are the ones

who are on stage in every performance unless they

have any problem, like injuries, and they are replaced

by their understudy.

6.2. The product ion team

When there is something that can

be shown of the musical, it is time to

make it public and bring it to a stage.

The production team, led by the

producer, is the one in charge of

selling the show not only to the

audience, but also to the critics.

The first person we find in theproduction team is its leader. The

producer works like the agent of the

show and is the one who takes the

major decisions to the show, so it

can be said that it is the equivalent to

the director in its team. Most of the

time, there are more than oneproducer in a show. This role is also

in charge of arranging every condition in all the contracts of all the members of

the team, apart from managing all the economic side of the show, such as the

budget for advertisement or any other aspect of the show, as they are also the

investors so they have their money in the project.

Karen Cartwright (played byKatherine McPhee - left) and IvyLynn (played by Megan Hilty -right) have been the two lead

actresses in the Marilyn Monroe"Bombshell" musical.

Eileen Rand, played by Anjelica Houston, is theproducer of "Bomshell" and spends all the

series trying to get investors for the show so itcan go to Broadway.

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Then there is the figure of the

stage manager, who is the one who

schedules rehearsals and looks for

every costume, prop and scenery

elements to be in their right place.

During performances, the stage

manager becomes the person who

controls everything happening on

and backstage thanks to wireless

communication. It could be said that

they acquire the director and

producer role during performances

so these are not called if there is not

an emergency in the theatre.

In the orchestra there is also a manager, called the house manager, who is

in charge of coordinating box offices, bartenders, souvenir sales shops and

other aspects in the side of the theatre the audience is allowed to go in. This

may be one of the hardest-working roles, although they are not given much

credit for everything they achieve.

Outside the theatre there are also roles to be filled, like the casting director,

who stays up-to-date on acting agencies so when a role is ready to be cast,

whether it is for a replacement or for a new role, they arrange those meetings

by contacting those agencies.

Another office job in theatre is

advertising and press and media

representation. The first one is in charge

of all the marketing for the show, such

as posters, TV ads and CD recordings.

The press representative is the one who

maintains contact with newspapers,

magazines, radios, television stations,

Ann Harada plays L inda, the stage manager in"Bombshell".

Daphne Rubin-Vega, who originated therole of Mimi in the musical "RENT", plays

Agnes in "Smash" , the publ ic is t in Eileen 'steam.

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assuring their show gets as much coverage as possible. They usually create

public events for the critics and arrange the interviews with the members of the

team. Usually both jobs are done by the same person as they both consist on

media communication.

6.3. Getting to the stage

Before rehearsals there is usually a first book reading, where the cast and

crew get together to read through the script and starts learning and thinking of

the characters and the story. The cast is also taught the songs and dances for

the first time and they are given a little time to learn. After that, everything goes

to rehearsal.

Rehearsals are a very important part of the process as this is when the

musical comes to live for the first time. Early rehearsals have to be focused on

the workshop, which is a first presentation of the show in front of potential

investors and some critics so the musical starts getting notices and it gains

more funding. This early rehearsals usually consists of setting the scenes and

getting fluency in the show, so the director can start giving direction.

After the workshop, when the creative team has heard the reaction from

outsiders of the show, notes have been taken and some changes are made.

Sometimes, if the show is really good in the beginning, these changes are

minimal, but usually most of the shows suffer from major changes so they can

adapt to the audience’s preferences.

In case of Broadway musicals, as the show is supposed to be in a very good

quality before opening, many times before previews the show is taken on tour to

other different cities to try it out and get the reaction of the critics and audience

and make other changes if needed. Then the show goes to previews, like every

other musical, which consist in performing in front of an audience to try how the

sets, costumes and everything else work in real performances and to start

getting press attention.

After previews, the show goes directly to opening night, when most of thecritics attend to see the show and write their reviews. Then the success of the

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show is mainly due to marketing and advertising. Interviews, ads, appearances

in commercials and special TV programs are some ways to get more press

attention so the ticket sales stay up. One of the most important ways to get

attention is award ceremonies, such as the Tony Awards (Broadway) and the

Oliver Awards (West End) because of the coverage not only the winners but

also the nominated shows get. If the show is lucky enough to be successful, it

can run during years, like great musicals such as Wicked, Les Misérables and

The Phantom of the Opera do.

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7. CONCLUSION

During the process of the creation of this project I found some difficulties. I

would like to say that there is not really much information about the reasons a

jukebox musical is created, or many of them pointing to financial ones. I can

give them a point if I were to be against them, but since most of the musicals

also have the lucrative side this is not really a good reason. After the project I

think I arrived to the conclusion that the real reason is to create something that

revives the passion for music that may have been forgotten.

Another difficulty has been doing the project in English, since it is not my

mother tongue. But I wanted to see it as a challenged I had thrown to myself asit has been very demanding. It turned out to be great practice, as I wish one day

I can go to an English speaking country, which, coincidentally are the ones

where musical theatre is on its highest level.

On the other side, some positive aspects of this project have been the ones I

hoped to achieve, which are mentioned in the introduction, such as discovering

the process of creating a musical and learning a little more about them. The

problem with the first part is mainly that it is basically made by inspiration,

although I tried to find some similarities between most of the musicals, so I

could base my own on them (which in the end I did).

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8. BIBLIOGRAPHY

8.1. Websites

BRADFORD, W. – The Top Ten Best "Jukebox Musicals" of All Time

<http://plays.about.com/od/musicals/a/Jukebox-Musicals.htm>

BROWNE, S. - Expert comment on the jukebox musical and the fate of 'Viva

Forever'

<http://www.wlv.ac.uk/default.aspx?page=36211>

IBDB – Rock of Ages

<http://www.ibdb.com/production.php?id=482291>

K AYE, K. – Broadway.com at 10: The 10 Biggest Broadway Trends of the

Decade

<http://www.broadway.com/buzz/152360/broadwaycom-at-10-the-10-biggest-

broadway-trends-of-the-decade/>

KENRICK, J. – Elements of a Musical – The Book

<http://musicals101.com/book.htm>

KENRICK, J. – Elements of a Musical – The Score

<http://musicals101.com/score.htm>

KENRICK, J. – How To Write a Musical <http://musicals101.com/write.htm>

KENRICK, J. – Making a Musical – Key Players: The Creative Team

<http://musicals101.com/creative.htm>

KENRICK, J. – Making a Musical – Key Players: The Production Team

<http://musicals101.com/make1b.htm>

MCM AHON, M. – What Does a Set Designer Do?

<http://www.wisegeek.com/what-does-a-set-designer-do.htm#didyouknowout>

VIQUIPEDIA - Arranjament

<http://ca.wikipedia.org/wiki/Arranjament>

VIQUIPÈDIA – Transport musical

<http://ca.wikipedia.org/wiki/Transport_musical>

WIKIPEDIA – A Hard Day’s Night (film)

<http://en.wikipedia.org/wiki/A_Hard_Day%27s_Night_(film)>

WIKIPEDIA – Across the Univers (film)

<http://en.wikipedia.org/wiki/Across_the_Universe_(film)>

http://en.wikipedia.org/wiki/A_Hard_Day%27s_Night_(film)

http://en.wikipedia.org/wiki/Across_the_Universe_(film)

http://en.wikipedia.org/wiki/Across_the_Universe_(film)

http://en.wikipedia.org/wiki/A_Hard_Day%27s_Night_(film)

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WIKIPEDIA – Adele

<http://en.wikipedia.org/wiki/Adele>

WIKIPEDIA – Al Jolson

<http://en.wikipedia.org/wiki/Al_Jolson>

WIKIPEDIA – All That Jazz (film)

<http://en.wikipedia.org/wiki/All_That_Jazz_(film)>

WIKIPEDIA – Arrangement

<http://en.wikipedia.org/wiki/Arrangement>

WIKIPEDIA – Backing vocalist

<http://en.wikipedia.org/wiki/Backing_vocalist>

WIKIPEDIA – Ballad opera

<http://en.wikipedia.org/wiki/Ballad_opera>

WIKIPEDIA – Beatlemanía

<http://es.wikipedia.org/wiki/Beatleman%C3%ADa>

WIKIPEDIA – Blues Brothers 2000

<http://en.wikipedia.org/wiki/Blues_Brothers_2000>

WIKIPEDIA – Blues Brothers 2000 (soundtrack)

<http://en.wikipedia.org/wiki/Blues_Brothers_2000_(soundtrack)>

WIKIPEDIA – Buddy – The Buddy Holly Story

<http://en.wikipedia.org/wiki/Buddy_%E2%80%93_The_Buddy_Holly_Story>

WIKIPEDIA – Carousel (musical)

<http://en.wikipedia.org/wiki/Carousel_(musical)>

WIKIPEDIA – Category: Jukebox musicals

<http://en.wikipedia.org/wiki/Category:Jukebox_musicals>

WIKIPEDIA – Chasing Pavements

<http://es.wikipedia.org/wiki/Chasing_Pavements>WIKIPEDIA – Cole Porter

<http://en.wikipedia.org/wiki/Cole_Porter >

WIKIPEDIA – Dream ballet

<http://en.wikipedia.org/wiki/Dream_ballet>

WIKIPEDIA – Ensemble cast

<http://en.wikipedia.org/wiki/Ensemble_cast>

WIKIPEDIA – Everyone Says I Love You<http://en.wikipedia.org/wiki/Everyone_Says_I_Love_You>

http://en.wikipedia.org/wiki/Adele

http://en.wikipedia.org/wiki/Al_Jolson

http://en.wikipedia.org/wiki/All_That_Jazz_(film)

http://en.wikipedia.org/wiki/Arrangement

http://en.wikipedia.org/wiki/Backing_vocalist

http://en.wikipedia.org/wiki/Ballad_opera

http://es.wikipedia.org/wiki/Beatleman%C3%ADa

http://en.wikipedia.org/wiki/Blues_Brothers_2000

http://en.wikipedia.org/wiki/Blues_Brothers_2000_(soundtrack)

http://en.wikipedia.org/wiki/Buddy_%E2%80%93_The_Buddy_Holly_Story

http://en.wikipedia.org/wiki/Carousel_(musical)

http://en.wikipedia.org/wiki/Category:Jukebox_musicals

http://es.wikipedia.org/wiki/Chasing_Pavements

http://en.wikipedia.org/wiki/Cole_Porter%60

http://en.wikipedia.org/wiki/Dream_ballet

http://en.wikipedia.org/wiki/Ensemble_cast

http://en.wikipedia.org/wiki/Everyone_Says_I_Love_You

http://en.wikipedia.org/wiki/Everyone_Says_I_Love_You

http://en.wikipedia.org/wiki/Ensemble_cast

http://en.wikipedia.org/wiki/Dream_ballet

http://en.wikipedia.org/wiki/Cole_Porter%60

http://es.wikipedia.org/wiki/Chasing_Pavements

http://en.wikipedia.org/wiki/Category:Jukebox_musicals

http://en.wikipedia.org/wiki/Carousel_(musical)

http://en.wikipedia.org/wiki/Buddy_%E2%80%93_The_Buddy_Holly_Story

http://en.wikipedia.org/wiki/Blues_Brothers_2000_(soundtrack)

http://en.wikipedia.org/wiki/Blues_Brothers_2000

http://es.wikipedia.org/wiki/Beatleman%C3%ADa

http://en.wikipedia.org/wiki/Ballad_opera

http://en.wikipedia.org/wiki/Backing_vocalist

http://en.wikipedia.org/wiki/Arrangement

http://en.wikipedia.org/wiki/All_That_Jazz_(film)

http://en.wikipedia.org/wiki/Al_Jolson

http://en.wikipedia.org/wiki/Adele

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WIKIPEDIA – Florenz Ziegfield, Jr

<http://en.wikipedia.org/wiki/Florenz_Ziegfeld,_Jr.>

WIKIPEDIA – George Gershwin

<http://en.wikipedia.org/wiki/George_Gershwin>

WIKIPEDIA – George White’s Scandals

<http://en.wikipedia.org/wiki/George_White_(producer)>

WIKIPEDIA – Gilbert and Sullivan

<http://en.wikipedia.org/wiki/Gilbert_and_Sullivan>

WIKIPEDIA – Glee (TV series)

<http://en.wikipedia.org/wiki/Glee_(TV_series)>

WIKIPEDIA – Harmonization > Reharmonizing a Melody

<http://en.wikipedia.org/wiki/Harmonization#Reharmonizing_a_melody>

WIKIPEDIA – Harmony

<http://en.wikipedia.org/wiki/Harmony>

WIKIPEDIA – Help! (film)

<http://en.wikipedia.org/wiki/Help!_(film)>

WIKIPEDIA – Hometown Glory

<http://es.wikipedia.org/wiki/Hometown_Glory>

WIKIPEDIA – Instrumentación musical

<http://es.wikipedia.org/wiki/Instrumentaci%C3%B3n_musical>

WIKIPEDIA – Ira Gershwin

<http://en.wikipedia.org/wiki/Ira_Gershwin>

WIKIPEDIA – Jersey Boys

<http://en.wikipedia.org/wiki/Jersey_Boys>

WIKIPEDIA – Jukebox Musical

<http://en.wikipedia.org/wiki/Jukebox_musical>WIKIPEDIA – Kiss Me, Kate

<http://en.wikipedia.org/wiki/Kiss_Me,_Kate>

WIKIPEDIA – Les Misérables (musical)

<http://en.wikipedia.org/wiki/Les_Mis%C3%A9rables_(musical)>

WIKIPEDIA – Let’s Misbehave

<http://en.wikipedia.org/wiki/Let%27s_Misbehave>

WIKIPEDIA – List of songs in Smash<http://en.wikipedia.org/wiki/List_of_songs_in_Smash>

http://en.wikipedia.org/wiki/Florenz_Ziegfeld,_Jr.

http://en.wikipedia.org/wiki/George_Gershwin

http://en.wikipedia.org/wiki/George_White_(producer)

http://en.wikipedia.org/wiki/Gilbert_and_Sullivan

http://en.wikipedia.org/wiki/Glee_(TV_series)

http://en.wikipedia.org/wiki/Harmony

http://en.wikipedia.org/wiki/Help!_(film)

http://es.wikipedia.org/wiki/Hometown_Glory

http://es.wikipedia.org/wiki/Instrumentaci%C3%B3n_musical

http://en.wikipedia.org/wiki/Ira_Gershwin

http://en.wikipedia.org/wiki/Jersey_Boys

http://en.wikipedia.org/wiki/Jukebox_musical

http://en.wikipedia.org/wiki/Kiss_Me,_Kate

http://en.wikipedia.org/wiki/Les_Mis%C3%A9rables_(musical)

http://en.wikipedia.org/wiki/Let%27s_Misbehave

http://en.wikipedia.org/wiki/Let%27s_Misbehave

http://en.wikipedia.org/wiki/Les_Mis%C3%A9rables_(musical)

http://en.wikipedia.org/wiki/Kiss_Me,_Kate

http://en.wikipedia.org/wiki/Jukebox_musical

http://en.wikipedia.org/wiki/Jersey_Boys

http://en.wikipedia.org/wiki/Ira_Gershwin

http://es.wikipedia.org/wiki/Instrumentaci%C3%B3n_musical

http://es.wikipedia.org/wiki/Hometown_Glory

http://en.wikipedia.org/wiki/Help!_(film)

http://en.wikipedia.org/wiki/Harmony

http://en.wikipedia.org/wiki/Glee_(TV_series)

http://en.wikipedia.org/wiki/Gilbert_and_Sullivan

http://en.wikipedia.org/wiki/George_White_(producer)

http://en.wikipedia.org/wiki/George_Gershwin

http://en.wikipedia.org/wiki/Florenz_Ziegfeld,_Jr.

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WIKIPEDIA - Mamma Mia!

<http://en.wikipedia.org/wiki/Mamma_Mia!>

WIKIPEDIA - Mamma Mia!

<http://es.wikipedia.org/wiki/Mamma_Mia!

WIKIPEDIA - Mamma Mia! (película)

<http://es.wikipedia.org/wiki/Mamma_Mia!_(pel%C3%ADcula)>

WIKIPEDIA – Marilyn Miller

<http://en.wikipedia.org/wiki/Marilyn_Miller >

WIKIPEDIA – Marx Brothers

<http://en.wikipedia.org/wiki/Marx_Brothers>

WIKIPEDIA – Meet Me in St. Louis

<http://en.wikipedia.org/wiki/Meet_Me_in_St._Louis>

WIKIPEDIA – Minstrel show

<http://en.wikipedia.org/wiki/Minstrel_show>

WIKIPEDIA – Moulin Rouge!

<http://en.wikipedia.org/wiki/Moulin_Rouge!>

WIKIPEDIA – Moulin Rouge! Music from Baz Luhrmann’s film

<http://en.wikipedia.org/wiki/Moulin_Rouge!_Music_from_Baz_Luhrmann%27s_

Film>

WIKIPEDIA – Oklahoma!

<http://en.wikipedia.org/wiki/Oklahoma!>

WIKIPEDIA – Orchestration > Orchestration as adaptation

<http://en.wikipedia.org/wiki/Orchestration#Orchestration_as_adaptation>

WIKIPEDIA – Oscar Hammerstein II

<http://en.wikipedia.org/wiki/Oscar_Hammerstein_II>

WIKIPEDIA – Pal Joey (musical)

<http://en.wikipedia.org/wiki/Pal_Joey_(musical)>

WIKIPEDIA – Porgy and Bess

<http://en.wikipedia.org/wiki/Porgy_and_Bess>

WIKIPEDIA – Richard Rodgers

<http://en.wikipedia.org/wiki/Richard_Rodgers>

WIKIPEDIA – Revues

<http://en.wikipedia.org/wiki/Revues>

http://en.wikipedia.org/wiki/Mamma_Mia!

http://es.wikipedia.org/wiki/Mamma_Mia!

http://en.wikipedia.org/wiki/Marilyn_Miller

http://en.wikipedia.org/wiki/Marx_Brothers

http://en.wikipedia.org/wiki/Meet_Me_in_St._Louis

http://en.wikipedia.org/wiki/Minstrel_show

http://en.wikipedia.org/wiki/Moulin_Rouge

http://en.wikipedia.org/wiki/Oklahoma!

http://en.wikipedia.org/wiki/Orchestration#Orchestration_as_adaptation

http://en.wikipedia.org/wiki/Oscar_Hammerstein_II

http://en.wikipedia.org/wiki/Pal_Joey_(musical)

http://en.wikipedia.org/wiki/Porgy_and_Bess

http://en.wikipedia.org/wiki/Richard_Rodgers

http://en.wikipedia.org/wiki/Revues

http://en.wikipedia.org/wiki/Revues

http://en.wikipedia.org/wiki/Richard_Rodgers

http://en.wikipedia.org/wiki/Porgy_and_Bess

http://en.wikipedia.org/wiki/Pal_Joey_(musical)

http://en.wikipedia.org/wiki/Oscar_Hammerstein_II

http://en.wikipedia.org/wiki/Orchestration#Orchestration_as_adaptation

http://en.wikipedia.org/wiki/Oklahoma!

http://en.wikipedia.org/wiki/Moulin_Rouge

http://en.wikipedia.org/wiki/Minstrel_show

http://en.wikipedia.org/wiki/Meet_Me_in_St._Louis

http://en.wikipedia.org/wiki/Marx_Brothers

http://en.wikipedia.org/wiki/Marilyn_Miller

http://es.wikipedia.org/wiki/Mamma_Mia!

http://en.wikipedia.org/wiki/Mamma_Mia!

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WIKIPEDIA – Rock of Ages (musical)

<http://en.wikipedia.org/wiki/Rock_of_Ages_(musical)>

WIKIPEDIA – Rock Of Ages (2012 film)

<http://en.wikipedia.org/wiki/Rock_of_Ages_(2012_film)>

WIKIPEDIA – Rodgers and Hammerstein

<http://en.wikipedia.org/wiki/Rodgers_and_Hammerstein>

WIKIPEDIA – Rodgers and Hart

<http://en.wikipedia.org/wiki/Rodgers_and_Hart>

WIKIPEDIA – Roger Edens

<http://en.wikipedia.org/wiki/Roger_Edens>

WIKIPEDIA – Rolling in the Deep

<http://es.wikipedia.org/wiki/Rolling_in_the_Deep>

WIKIPEDIA – Savoy Opera

<http://en.wikipedia.org/wiki/Savoy_Opera>

WIKIPEDIA – Sgt. Pepper’s Lonely Hearts Club Band

<http://en.wikipedia.org/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band>

WIKIPEDIA – Singin’ in the Rain

<http://en.wikipedia.org/wiki/Singin%27_in_the_Rain>

WIKIPEDIA – Singin’ in the Rain (musical)

<http://en.wikipedia.org/wiki/Singin%27_in_the_Rain_(musical)>

WIKIPEDIA – Singspiel

<http://en.wikipedia.org/wiki/Singspiel>

WIKIPEDIA – Smash (TV series)

<http://en.wikipedia.org/wiki/Smash_(TV_series)>

WIKIPEDIA – Soliloquy (song)

<http://en.wikipedia.org/wiki/Soliloquy_(song)>WIKIPEDIA – South Pacific (musical)

<http://en.wikipedia.org/wiki/South_Pacific_(musical)>

WIKIPEDIA – The King and I

<http://en.wikipedia.org/wiki/The_King_and_I>

WIKIPEDIA – The Mikado

<http://en.wikipedia.org/wiki/The_Mikado>

WIKIPEDIA – The Sound of Music<http://en.wikipedia.org/wiki/The_Sound_of_Music>

http://en.wikipedia.org/wiki/Rock_of_Ages_(musical)

http://en.wikipedia.org/wiki/Rock_of_Ages_(2012_film)

http://en.wikipedia.org/wiki/Rodgers_and_Hammerstein

http://en.wikipedia.org/wiki/Rodgers_and_Hart

http://en.wikipedia.org/wiki/Roger_Edens

http://es.wikipedia.org/wiki/Rolling_in_the_Deep

http://en.wikipedia.org/wiki/Savoy_Opera

http://en.wikipedia.org/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band

http://en.wikipedia.org/wiki/Singin%27_in_the_Rain

http://en.wikipedia.org/wiki/Singin%27_in_the_Rain_(musical)

http://en.wikipedia.org/wiki/Singspiel

http://en.wikipedia.org/wiki/Smash_(TV_series)

http://en.wikipedia.org/wiki/Soliloquy_(song)

http://en.wikipedia.org/wiki/South_Pacific_(musical)

http://en.wikipedia.org/wiki/The_King_and_I

http://en.wikipedia.org/wiki/The_Sound_of_Music

http://en.wikipedia.org/wiki/The_Sound_of_Music

http://en.wikipedia.org/wiki/The_King_and_I

http://en.wikipedia.org/wiki/South_Pacific_(musical)

http://en.wikipedia.org/wiki/Soliloquy_(song)

http://en.wikipedia.org/wiki/Smash_(TV_series)

http://en.wikipedia.org/wiki/Singspiel

http://en.wikipedia.org/wiki/Singin%27_in_the_Rain_(musical)

http://en.wikipedia.org/wiki/Singin%27_in_the_Rain

http://en.wikipedia.org/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band

http://en.wikipedia.org/wiki/Savoy_Opera

http://es.wikipedia.org/wiki/Rolling_in_the_Deep

http://en.wikipedia.org/wiki/Roger_Edens

http://en.wikipedia.org/wiki/Rodgers_and_Hart

http://en.wikipedia.org/wiki/Rodgers_and_Hammerstein

http://en.wikipedia.org/wiki/Rock_of_Ages_(2012_film)

http://en.wikipedia.org/wiki/Rock_of_Ages_(musical)

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WIKIPEDIA – Transposition (music)

<http://en.wikipedia.org/wiki/Transposition_(music)>

WIKIPEDIA – Turning Tables

<http://en.wikipedia.org/wiki/Turning_Tables>

WIKIPEDIA – Vocal range

<http://en.wikipedia.org/wiki/Vocal_range>

WIKIPEDIA – We Will Rock You (musical)

<http://en.wikipedia.org/wiki/We_Will_Rock_You_(musical)>

WIKIPEDIA – Wicked (musical)

<http://en.wikipedia.org/wiki/Wicked_(musical)>

WIKIPEDIA – Woody Allen

<http://en.wikipedia.org/wiki/Woody_Allen>

WIKIPEDIA – Yellow Submarine (1968 film)

<http://en.wikipedia.org/wiki/Yellow_Submarine_(1968_film)>

WIKIPEDIA – Ziegfield Follies

<http://en.wikipedia.org/wiki/Ziegfeld_Follies>

WOODWARD, K. - The Jukebox Musical

<http://rickontheater.blogspot.com.es/2011/10/jukebox-musical.html>

8.2. Books

PILHOFER, M.; D AY, H. (2010) – Teoría musical para Dummies, Barcelona:

Para Dummies.

8.3. TV Series

PBS (2004) – Broadway, the American Musical (episodes 2-4)

NBC (2012-13) – SMASH (seasons 1-2)

8.4. Images

The images’ links correspond to each photo following their appearance order

in the project.

<http://www.ayoungertheatre.com/wpcontent/uploads/2012/02/3544766101_

22d708a629.jpg>

http://en.wikipedia.org/wiki/Transposition_(music)

http://en.wikipedia.org/wiki/Turning_Tables

http://en.wikipedia.org/wiki/Vocal_range

http://en.wikipedia.org/wiki/We_Will_Rock_You_(musical)

http://en.wikipedia.org/wiki/Wicked_(musical)

http://en.wikipedia.org/wiki/Woody_Allen

http://en.wikipedia.org/wiki/Ziegfeld_Follies

http://en.wikipedia.org/wiki/Ziegfeld_Follies

http://en.wikipedia.org/wiki/Woody_Allen

http://en.wikipedia.org/wiki/Wicked_(musical)

http://en.wikipedia.org/wiki/We_Will_Rock_You_(musical)

http://en.wikipedia.org/wiki/Vocal_range

http://en.wikipedia.org/wiki/Turning_Tables

http://en.wikipedia.org/wiki/Transposition_(music)

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<http://media.zenithlimoges.com/photos/gd/mamma-mia-!.jpg>

<http://4.bp.blogspot.com/-D2hH93xRxwg/T-

r_cUE4tNI/AAAAAAAAA6w/z101jT6KgnQ/s1600/ROA+HORIZONTAL.jpg>

<http://www.vam.ac.uk/users/sites/default/files/2006ah3998_hogarth_beggar

s_opera.jpg>

<http://www.musicals101.com/news/jolson.jpg>

<http://upload.wikimedia.org/wikipedia/commons/4/4c/Coleporter.jpg>

<http://www.pbs.org/wnet/gperf/files/2008/11/590_oklahoma_musicsel.jpg>

<http://upload.wikimedia.org/wikipedia/en/f/f9/Singing_in_the_rain_poster.jpg>

<http://t2.gstatic.com/images?q=tbn:ANd9GcRJ96w31ICwXnfcfA_90ezCc2N

nhNwmh36_5m7YuZ3SLFYyJY_R>

<http://www.theepochtimes.com/n2/images/stories/large/2009/02/02/845828

98.jpg>

<http://www.tinerguia.com/wp-content/uploads/2009/06/mamma_mia_

musical.jpg>

<http://3.bp.blogspot.com/ezBTmq_EvVw/Tz7IaarkIfI/AAAAAAAABuI/Avn6D

Q5J-hk/s1600/moulin-rouge-original.jpg>

<http://musicopolis.mx/wp-content/uploads/images//20131115092753-queen-

kiely-rich.jpg><http://www.dancinghotdogs.com/wp-content/uploads/2008/10/rock-of-

ages.jpg>

<http://photos.imageevent.com/afap/wallpapers/televisionshows/glee/glee%2

0promo%20pic.jpg>

<http://cdn01.cdnwp.celebuzz.com/wp-

content/uploads/2013/10/17/Glee_Season_4_Promo.jpg>

<http://www.nbc.com/app2/img/default/scet/metaverse/1/3/6/0/4/9/2013_0920_Smash_Hero_Main_NBCU_Show.jpg>

<http://blog.zap2it.com/pop2it/smash-hit-list.jpg>

<http://www.alphamom.com/legacy/hotspots/wicked%20book%20cover.jpg>

<http://comeandgobybubble.files.wordpress.com/2011/08/img_6403.jpg>

<http://userserve-ak.last.fm/serve/_/74466328/Adele+VoguePNG.png>

<http://images2.fanpop.com/images/photos/3000000/The-Wizard-And-I-

wicked-3014007-400-268.jpg>

8/20/2019 TDR - Kind of


<http://303magazine.com/wpcontent/uploads/2012/06/MV5BMTQyMjA3MDc

wNl5BMl5BanBnXkFtZTcwNzE2Njc4Nw@@__V1__SX640_SY427_.jpg>

<http://imworld.aufeminin.com/dossiers/D20120824/mammamia-

102103_L.jpg>

<http://st-listas.20minutos.es/images/2010-4/209455/2276558_640px.jpg?1271265860>

<http://www.lesmis.com/us/files/2013/01/01.LesMiserables.US_.OneDayMor

O1-1024x818.jpg>

<http://4.bp.blogspot.com/SATFT4qiFBM/T4xZu216jLI/AAAAAAAAEeY/WEX

WEXTzoJ0/s1600/NUP_146471_3495.jpg>

<http://blog.fidmmuseum.org/.a/6a01156f47abbe970c019aff5d530a970b-pi>

<http://comeandgobybubble.files.wordpress.com/2012/02/katharine-mcphee-

300.jpg>

<http://s.tf1.fr/mmdia/i/30/0/smash-anjelica-huston-interprete-eileen-rand-

10723300azpcu_1879.jpg>

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