The Last Queen of Paradise final cut NTSC

The Last Queen of Paradise trailer

Back to School

One of the major purposes behind my decision to get my MA in Musical Theatre was the notion that I could teach musical theatre history. Well, a couple of weeks ago, I had a chance to do just that at a conservatory in West London. One thing I confirmed was that I absolutely loved doing it. I begean with Mozart’s The Magic Flute and worked my way forward with Orpheus in the Underworld, The Pirates of Penzance, Show Boat, Porgy and Bess and Oklahoma!, showing video clips to illustrate each show. They are planning to bring me back to cover post-war musicals up to the present. Best of all, the class all stayed behind to talk to me. There was one from South Africa (who, surprisingly, had never heard of Sarafina!) who was very interested to know more about A Million Miles from Broadway, my book on international musical theatre. There were also students from Australia and France. This may turn into a full teaching position if this school is able to receive accreditation for a diploma program next year.

The other part of my MA that I am hard at work on is The Last Queen of Paradise, a musical about the overthrow of the Kingdom of Hawai’i. It will be showcased at the Tristan Bates Theatre in London in September of next year.

My new book Breaking Into Song is also available from Lulu as well as Amazon Kindle. I look forward to letting you know of future developments.

Mel Atkey
To purchase A Million Miles from Broadway:
A Million Miles from Broadway
To purchase Breaking into Song:
Breaking into Song

Breaking into Song -- new book by Mel Atkey now available

 

As you may know, for the past year I have been working on my MA in Musical Theatre at Goldsmiths in London.  This is partly so that I can put the work I did on writing Broadway North and  A Million Miles from Broadway to more effective use as a teacher and lecturer, although my main project will be The Last Queen of Paradise, a musical about the American takeover of Hawaii.

In the meantime, I have just published a small volume of my articles, essays and interviews from the past 35 years.  Breaking Into Song begins with my first ever interview for what was then a syndicated radio series called Broadway Melodies back in 1980.  Stephen Schwartz was then working on turning The Magic Show into a movie.  This was to be the beginning of a correspondence that lasted a couple of decades in which he offered me encouragement as a writer of musicals, long before he began doing it on a grander scale through ASCAP.

It also features a fascinating interview with Reid Shelton, Annie’s original Daddy Warbucks recalling the development process that show went through, and the lengths to which the Kennedy Centre’s Roger Stevens went to keep the costs (and the ticket prices) down (eg. Opening night in Washington DC, the scenery was not painted, as he didn’t want to spend the money until he knew the show was a hit.).  Those are just two of the seven essays collected in this book, which can be ordered by clicking here.  (There is a 20% discount if you order before it goes on wider sale, which will be in 4-6 weeks.)

A Million Miles from Broadway – Musical Theatre Beyond New York and London can also be ordered here.

 

I hope you enjoy them!

 

Mel Atkey

New review in Studies in Musical Theatre

At long last, my book A Million Miles from Broadway has been reviewed in the current issue of Studies in Musical Theatre. The reviewer is Ji Hong Yu of  City University of New York Graduate Centre.  I should begin by saying that she takes some issue with the fact that it was not written in a “scholarly” style, a criticism that I must say I wear as a badge of honour.  However, the overall tone is positive: “As the first of its kind to compile the accounts of the recent developments in musical theatre across time and place, his book is particularly timely as there is a growing interest by scholars, producers and journalists in the transnational circulation, production and popularity of musical theatre, both of  English-speaking musicals and non-English-speaking musicals... He writes in the first-person, and uses a number of his personal experiences and interviews as examples, which makes the chapters seem less scholarly, and more like a series of on-line blog postings written by well-informed industry personnel... His book can still serve as a valuable resource for those who are entering the field of international musical theatre, given the scarcity of resources on musical theatre outside New York and London that are accessible to an English-speaking readership.  Perhaps the greatest value that I find in Atkey’s book is that it... questions the widely accepted western-centric definition of musical theatre, and challenges scholars to find a way to discuss musicals that are more layered in their origins and influences... Atkey’s book can definitely be a springboard for further research in this area.”

 

Mel Atkey

Three songs from foreign musicals you didn't know you knew

I recently listened to a concert on the radio of songs from the Great American Songbook, virtually all of which were show-tunes.  I thought I would share with you three songs from foreign musicals – all of which have become popular standards.  Unlike the American songs, none of these would be generally recognised today as show-tunes.  (Click on the song titles to go to a YouTube link.)

Although made famous in 1970 by Simon & Garfunkel and misidentified as an Andean folksong, “El Condor Pasa” is in fact the title song from a 1913 Peruvian “Zarzuela” by Daniel Alomia Robles.

“Aquarela do Brasil” (“Watercolour of Brazil”, from Entra na Faixa) by Brazilian composer Ary Barosso might have vanished into obscurity had it not been featured in a 1942 Disney animated feature called Saludos Amigos.  It was later popularised by bandleader Xaviar Cugat, and was the inspiration for Terry Gilliam’s 1985 film Brazil.

“Glow-worm” was originally written in 1902 by German composer Paul Lincke, a protégé of Richard Strauss for his operetta Lysistrata.  Lincke’s work was eclipsed by the modern jazz style – ironically his own song became best known after being adapted into that style as a hit for the Ink Spots.

I hope you enjoyed this bit of musical theatre trivia.

Why I do What I do (Part Two)

In my last update, I explained to you the reason why I have been promoting my book A Million Miles from Broadway in the way that I have – as an “independent” publication I do not enjoy the support and resources of a major publisher or marketing team. This has been a labour of love, as well as a “mission”.

 

I would like to further explain some of my future hopes and ambitions.Beginning in September, I will be embarking on a Masters Degree in musical theatre at Goldsmiths University of London. This will help me in my work as a musical theatre writer, and will also enable me to teach at a university level. Once I have that, I would like to offer my services as a guest lecturer and workshop facilitator at the international level. I have already put out some feelers in places like Singapore to assist with local musical writers in the work-shopping of new shows.This is somewhat dependant on my being successful in my bid for funding for the course. I have applied for a couple of bursaries but can’t finance it on my own. (I’ll let you know what happens.)

 

You can help is by telling professionals in the field about this book.  I am trying to get it into as many libraries (and onto as many reading lists) as possible.

 

With gratitude for your understanding and (I hope) support,

 

Mel Atkey