ghost - All Tickets Inc.

Transcription

Creativity
and
Collaboration
Toward
INTERACTIVE STUDY GUIDE
Communication,
Learning
CAREERS IN THE THEATRE
Communication, Creativity and Collaboration Toward Learning
An Interactive Study Guide for Ghost The Musical
This interactive study guide has been designed to engage students and their teachers in a learning
experience based upon communication, creativity and collaboration.
How is the guide interactive?
Navigation links throughout the guide make accessing materials within the guide both quick and easy.
Other links connect to video clips of the original New York cast, creative team and producers. A third set of
links introduces students to valuable theatre resources on the Internet.
To use these interactive PDF files, please download Part I and or Part II to your desktop.
Part I: A Study Guide for Ghost The Musical
For teachers whose students have the opportunity to see Ghost The Musical:
• Part I of the guide focuses on the important components of Ghost The Musical—history, elements
such as plot, theme, characters, music, staging and the like, as well as the collaborative efforts of
some very creative individuals responsible for bringing the production to the stage.
INTRODUCTION
GHOST The Musical - Welcome
• Prior to seeing the show, the guide will help prepare students for the actual theatre experience.
After seeing the production, questions and activities help students consider the elements of the
musical more thoroughly through analysis, evaluation and creativity.
Part II: The Career Connection
For ALL teachers and students whether or not they have the opportunity to see Ghost The Musical:
• Part II The Career Connection is designed to expand students’ awareness of the many career
opportunities associated with the theatre.
• Over 60 different careers are defined. For some of the careers, bios and video links to interviews of
some of the actors in Ghost The Musical help students to understand the many different paths to a
career in the theatre.
Common Core Content Standards
• The questions and student activities in the guide are aligned with the Common Core Standards. To
facilitate lesson planning, links to these standards are provided with each student activity.
• All topics and projects in the guide are related to school curriculum and/or issues important to
students. Language Arts, Technology, History, Music, Art and Career Education are some of the
academic subjects addressed while other areas focus on topics such as bullying, communication
and relationships, and diversity.
Intro
Table of
Contents
Acknowledgements
Theatre
Chart
Prologue
• www.allticketsinc.com • May Be Reproduced • version 1.0 •
2
Resource
Videos
This study guide was made possible through the communication, creativity, and collaboration
of the following individuals, groups and businesses:
Arthor and Video Producer___________________________________________________ Paul Mroczka
Design Layout and Artwork_____________________________________________Christopher Boettger
Publisher_________________________________________________________________ All Tickets, Inc.
Videographer ___________________________________________ Cindy Jones, Breakaway Media, LLC
Video Editor_______________________________________________________________ Todd DiOrio
With Grateful Appreciation
Producers____________________________________________________________ Ghost The Musical
SpotCo_______________________________A worldwide Leader in entertainment and arts advertising.
We take an integrated approach to strategic and creative services.
Bespoke Theatrical ____________________________________________General Theatrical Managers
The Lunt-Fontanne Theatre___________________________________________a Nederlander Theatre
Ghost The Musical_____________________ Cast Members’ participation in making of the Study Guide
ACKNOWLEDGEMENTS
GHOST The Musical - Acknowledgements
Advisory Committee Mission Statement
The Advisory Committee is composed of theatre educators, university professors, music and theatre
professionals and others involved in the arts and education. Its mission is to provide insights into the
Ghost The Musical Study Guide. The Advisory Committee is charged with reviewing the document and
offering comments concerning its efficacy as a teaching tool regarding the theatre profession, musical
theatre and the production Ghost The Musical.
Kathleen Arecchi, DMA
Professor of Music (Voice & Opera) Musical
Theatre)
Department of Music, Theatre & Dance
Plymouth State University
Plymouth, NH
Christopher Boettger, MA
Teacher of Fine Arts
Dumont Board of Education
Dumont, NJ
Alison Ford, Art Director
White Collar
Silvercup Studios East
34-02 Starr Avenue
Long Island City, NY 11101
Van McLeod, Commissioner
State of New Hampshire Department
of Cultural Resources
Concord, NH
Colleen Craven Mannion, President
NH Educational Theatre Guild &
Director, Goffstown Theatre Company
Goffstown High School
Goffstown, NH
Gay Nardone, Professor
Department of Theatre & Dance
University of New Hampshire
Durham, NH
Holly E. Oliver
Coordinator of Music Education
Plymouth, NH
Sharon Rae Paquette, M.Ed., MFA-IA
Freelance Director and Actress
Adjunct Theatre Faculty
Plymouth, NH
Victoria Portsmore,BA, MA
Theater Educator
Watertown Middle School, MA
Outreach Teacher for
Kidstock Creative Theater, Winchester, MA
Nancy Saklad
Intro
Assistant Professor (Voice & Speech,
Acting, Directing)
School of Fine & Performing Arts
SUNY – New Paltz
New Paltz, NY
Table of
Contents
Theatre
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Paul Mroczka
Paul is a Professor of Theatre in the Department of Music, Theatre and Dance
at Plymouth State University (PSU), Plymouth, NH, has been actively involved
in the professional theatre for over 35 years and in educational and university
theatre for the past 25. He has directed more than 50 productions, including
the New England premiere of Janusz Glowacki’s Hunting Cockroaches and has
written numerous plays with his latest productions being The Watercress, a
dramatic piece, at PSU and two musicals, Cowboys! at the Cumberland County
Playhouse, TN, and Crazy Love at Off-Square Theatre, WY and the Springer
Opera House, GA. Both musicals were co-written with composer/lyricist John Briggs. Photo Credit: Kevin P. Hill
Paul’s awards include a National Endowment for the Arts Playwriting Fellowship, a Shubert Fellowship
and the Jason Miller Award for Playwriting along with numerous commissions from various theatres. His
screenplay The Watercress was a Finalist in the prestigious Austin Film Festival’s Screenwriting Competition
and his screenplay The Long Journey Home was a Semi-Finalist in the Nicholl Screenwriting Competition
(Academy of Motion Picture Arts and Sciences).
He served as Director of Theatre at PSU from 1994-2003. During that time, he helped to shape the
theatre major with his colleagues, creating a competitive and highly selective program with an expanded
production season, a focus on mentoring and an emphasis on developing each student’s full potential.
After a nine-year break, Paul will resume his role as Director of Theatre for the 2012-2013 academic year.
Along with directing and teaching, he also runs his own writing business, E-Right, specializing in arts,
entertainment, social media and video.
ACKNOWLEDGEMENTS
GHOST The Musical - Acknowledgements
All Tickets Inc @ www.allticketsInc.com
All Tickets Inc. is dedicated to fostering educational
experiences and an appreciation of theatre, the
arts and culture. In the past few years, they have
undertaken various initiatives designed to connect
students and teachers with quality experiences.
The Total New York Experience
This includes providing students with various quality
educational opportunities such as Camp Broadway workshops and special programs at the MET,
offering access to group discounts for students and the development of materials to enhance student
appreciation and enjoyment of theatre.
The latest project from All Tickets Inc. is the highly innovative Ghost The Musical Study Guide. This
study guide represents various qualities that All Tickets embraces, including educating students
regarding the art and craft of theatre, fostering discussion concerning important aspects of life and
focusing on the development of student academic skills.
Intro
All Tickets believes it has a responsibility to connect students with the theatre on various levels,
including aiding in the appreciation of the art form and offering useful information regarding careers
in the theatre. This innovative company provides personable discount group ticket, tour and event
booking services to those who want to fully enjoy New York City’s theatre, restaurants, sites, hotels,
and landmarks and includes programs specifically geared towards students.
Table of
Contents
Theatre
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Moving Forward
“I regard the theatre as the greatest of all art forms, the most immediate way in which a human
being can share with another the sense of what it is to be a human being.” –
Oscar Wilde
The theatre is an amazingly rich and unique art form. It is the only form of art that uses and incorporates
all art forms into live performance. We know that it has been in existence formally for over 2,500. Our
first historical documents recording live theatrical performances date back to the 5th century BCE when
the Athenians created tragedy first and then comedy.
PROLOGUE
GHOST The Musical - Prologue
From the beginning, the theatre was seen as being a powerful tool that could simultaneously entertain,
teach and uplift. In The Poetics, the first theatre critic.
Aristotle, explained the structure, nature and great effect of tragedy, and when on trial in his defense
Socrates noted the power of the theatre by claiming that one reason his ideas and teachings had been
misconstrued had to do with a comedy in which he was a major character. It’s believed he was referring
to Aristophanes’ The Clouds, which lambastes Socrates.
The result of that trial was that Socrates was found guilty of corrupting the youth of Athens and was
sentenced to either exile or death. He chose death. As for Aristophanes, who was famous for writing
comedies that openly criticized those in the public eye, he never wrote another comedy where he
viciously criticized anyone. He turned instead to creating mild situation comedies.
Power of Theatre Today
“By whatever means it is accomplished, the prime business of a play is to arouse the passions of
its audience so that by the route of passion may be opened up new relationships between a man
and men, and between men and Man. Drama is akin to the other inventions of man in that it
ought to help us to know more, and not merely to spend our feelings” –
Arthur Miller
The theatre has changed greatly over the past 2,500 years in many ways. Technology, acting styles,
subject matter, music and dance and theatre personnel have changed time and again, reflecting the
culture and time period in which it has been created.
Intro
Table of
Contents
As an example, the Ancient Greek theatre had very few technical elements. In fact, the one major
machine was named the mekane (machine). It was a crane that was used for special effects in both
tragedies and comedies. In viewing a show today such as Ghost The Musical hundreds of different
“machines” are used in each and every performance.
Theatre
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PROLOGUE
The Constant
“The good die young but not always. The wicked prevail but not consistently. I am confused by
life, and I feel safe within the confines of the theatre.”Helen Hayes
Although the theatre has changed drastically since its beginning, there is one thing that has remained
constant—it is always live. That is the nature and essence of the theatrical experience. Audiences go to see
a play and watch people like themselves portraying characters whose lives in some way have come into
conflict. We watch, experience and feel emotions. At the end, we’re left with a resolution, the end of the
play, and a message.
But what is that message and how may we use it in our lives? Until we start to answer this question, we
haven’t begun to tap into the full power of the theatre experience.
Bringing the Play into the Classroom
“The audience is the most revered member of the theater. Without an audience, there is no
theater. Everything done is ultimately for the enjoyment of the audience. They are our guests,
fellow players, and the last spoke in the wheel which can then begin to roll. They make the
performance meaningful.”Viola Spolin
The Ghost The Musical Study Guide: Communication, Creativity and Collaboration Toward Learning has
been created to facilitate answering the question “What is that message (of the musical) and how may we
use it in our lives?” After seeing a Broadway show, there’s always a lot to discuss but often after such an
overwhelming experience it’s difficult to frame and focus that discussion.
Aristotle noted in The Poetics that the primary reason for tragedy to exist was to create a catharsis, a
purging of emotions, in the audience. He said that tragedy purged many different emotions but the most
important were pity and fear. People often debate why the purging of emotions was thought to be so
important.
It helps to understand that in ancient Athens each citizen was looking to reach a state of theoria, which is
the state of being clear-headed, so they might think and learn. How one accomplished that task was by
purging emotions and thus allowing thought to occupy the mind without distraction.
6
Intro
Table of
Contents
Theatre
Chart
Resource
Videos
PROLOGUE
Focusing Energies
“...I am certain that after the dust of centuries has passed over our cities, we, too, will be
remembered not for victories or defeats in battle or in politics, but for our contribution to the
human spirit.” –
President John F. Kennedy
This study guide is devoted to enabling clear-minded discussion and learning in an active, creative manner.
As mentioned in the Introduction to the study guide, this is a unique document. For the first time ever, we
have gone to the source, those responsible for creating Ghost The Musical and through video clips, essays
and original documentation offer their insights into the process, product and message.
In addition, we have provided a layered approach to projects. Various topics and issues that are introduced
in the first part and offered for discussion in the guide, may be further investigated through our projects
section. Most topics have three different levels of projects that may be utilized independently or together.
As an example, you may want to do the Level I, II and III projects on Communication and Relationships or
you may simply elect to focus on one of any of the three levels. Or perhaps you’d like to focus on Level I of
Music and Emotion and Level III on Bullying? It’s your choice.
It is entirely up to the teacher and the students as to how much and in what way you would like to utilize
this study guide. The point is to allow students and teachers to harness the power of this masterful
production of Ghost The Musical to broaden their understanding of academic subjects, art and life. To that
end we offer the Ghost The Musical Study Guide: Communication, Creativity and Collaboration Toward
Learning.
Intro
Table of
Contents
Theatre
Chart
7
Resource
Videos
Over 60 different careers associated with the theatre...
When you mention the stage as a career most people think about acting; the fact is there are more than
60 different careers associated with the theatre. These include everyone from box office personnel to
publicists, directors to technicians.
There is no one path...
For most who find a career in the theatre, there usually was a point where they took time to volunteer
with the local amateur theatre group, participate in school productions or focus on learning skills that
later could be used in the theatre. There is no one path to a career in the theatre, but there is a feeling
shared by those who work in the field: a passion and love for what they do and the belief that they are
lucky to be engaged in such an exciting and rewarding art form.
After you explore the careers below...
How do the talents and skills of many different individuals come together to produce a Broadway show?
Learn about the process in A Ghostly Tale of Communication, Creativity and Collaboration.
*thanAna asterisk
below indicates additional information about the career. There are insights and video clips from more
dozen professionals associated with Ghost The Musical.
Acting Coach
Development Director
Playwright
Actor
Dialect Coach
Press Agent
Artist-in-Residence
Director *
Production Manager
Artistic Director
Drama Therapist
Producer *
Arts Administrator
Dramaturg
Property Designer/Manager
Arts Center Director
Draper
Public Relations Director
Art Council Coordinator
Electrician
Scenic Artist
Arts Fundraiser
Grant Writer
Scenic Designer
Book Writer *
Hair and Makeup Coordinator
Sound Designer *
Booking Agent
House Manager
Special Effects Technician
Box Office Manager
Illusionist *
Stage Combat Choreographer
Business Manager
Lighting Designer *
Stagehand
Carpenter
Literary Manager
Stage Manager
Casting Agent
Lyricist *
Stitcher
Choreographer
Managing Director
Talent Agent
Company Manager
Marketing Director*
Technical Director
Composer *
Music Arranger and Orchestrator *
Technician
Conductor
Music Director *
Theatre Librarian
Costume Designer *
Musicians
Theatre Teacher
Costume Shop Supervisor
Outreach Coordinator
University Professor
Dancer
Personal Manager
Video Production Designer *
THE CAREER CONNECTION
GHOST The Musical - Teachers Study Guide
Intro
Table of
Contents
Theatre
Chart
8
Resource
Videos
GHOST The Musical - Theatre Hierarchy Chart
PRODUCER
House
Manager
Box Office
Manager
Sound
Designer
Publicist
Technical
Director
Assistant
Director
Costume
Designer
Director
Lighting
Designer
Make-up
Designer
Stage
Manager
Scenic
Designer
Technical
Director
Audio
One
Costume
Mistress
Master
Electrician
Audio
Crew
Sticher
Lighting
Crew
Sound
Engineer
Dresser
Lighting
Technician
Hair and
Makeup
Lead
Carpenter
Property
Master
Set
Crew
Props
Crew
Scenic
Crew
Property
Master
Intro
Table of
Contents
A2
Theatre
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9
Resource
Videos
Acting Coach
GHOST The Musical - Theatrical Occupations
Acting coaches are trained in the crafts of acting and voice. They are often an actor or a director. They
work on a one-to-one basis with actors, helping them with audition pieces or skill development.
Actor
Actors
utilize their intellect, voice and body to give characters life. Their talents and skills may include acting,
dancing and singing. They must possess the ability to analyze plays and characters in depth and
then turn that analysis into a physical reality on stage. A large part of an actor’s work is auditioning
for roles, which most do on a daily basis. There is no single career path for actors. Some train at
a university level while others learn their craft through conservatory training or private lessons.
Professionals are members of Actors’ Equity Association (AEA).
Richard Fleeshman (Sam Wheat)
Richard, who started performing before he was a teen,
created the role of Sam Wheat for Ghost The Musical when it
premiered in England in 2011. His entire family is involved in
show business—his mother, Sue Jenkins, is an actress; his father,
David Fleeshman, is an actor and director; and his sisters, Rosie
and Emily, also act.
His TV credits in England include the role of Craig Harris in
Coronation Street, which he played from 2002-2006. In 2009,
Richard played the role of Kyle Chaddick, an autistic boy who
is musically gifted, in the six-part dramatic series All the Small
Things. He co-wrote with Sir Elton John the theme song for the
show and recorded the tune for the program.
In 2007, he signed a recording contract
with Universal Records and then wrote,
recorded and released his debut album.
Richard, who plays guitar, has been on
three stadium tours with John.
Prior to being cast as Sam in Ghost The
Musical, he made his West End debut
in 2010, replacing Duncan James in the
role of Warner in the musical Legally
Blonde. He then was cast as Sam
Wheat and played the role in London
prior to coming to the U.S. to play it in
the Broadway premiere in 2011.
Richard Fleeshman Quick Look
• Created the role of Sam Wheat in Ghost The
Musical (2011)
• Family is involved in show business
• Is an actor and musician
• Contract with Universal Records (2007)
• Wrote, recorded and had released first album
• Toured with Sir Elton John
• Starred in British TV series
Coronation Street (2002-2006)
All the Small Things (2009)
• First appeared in a West End production as a
replacement in Legally Blonde
Intro
Table of
Contents
The Video Connection Still Learning
Theatre
Chart
Video Richard Fleeshman , Sam and Caissie Levy, Molly: Did you learn anything doing this show?
10
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Videos
Caissie Levy (Molly Jensen)
Caissie Shira Levy grew up in Hamilton, Ontario in Canada.
The 30-year-old actress has two older brothers, Josh and
Robi. Her dad, Mark, is a doctor and her mom, Lisa Levy,
runs the business aspects of her husband’s medical practice.
Caissie and her brothers were brought up in the Jewish faith
and at the age of 11 she began attending Camp Ramah. It
was there that the actress started to perform in musicals.
They were a tad different than Ghost The Musical as they
were written in Hebrew. In 1999, she graduated from
Westdale Secondary School.
Although her first inclination was to study classical theatre
and focus on Shakespeare, it was suggested that she
audition for the American Musical and Dramatic Academy
(AMDA) in New York. She did and earned entrance into the
school. With that, Caissie was on her way to a career on the
musical theatre stage. In 2006, she graduated from AMDA
and just a week later was playing Maureen in the national
tour of Rent.
After serving as understudy for Hair Spray’s Penny Pingleton
in the Toronto production, Caissie landed the replacement position for that role on Broadway. She also
played the part in the national tour.
Caissie Levy Quick Look
• Created the role of Molly Jensen in Ghost The
Musical (2011)
• Grew up in Hamilton, Ontario Father is a
general practitioner and mother manages
practice
• Had considered becoming a classical
actress
• Trained at American Musical and Dramatic
Academy (AMDA) in New York
• Was understudy for Hair Spray’s Penny
Pingleton in the Toronto production and
played same role on Broadway
• Appeared on Broadway as Sheila in the
revival of HAIR (2009)
• Also performed the same role in London’s
West End.
In 2008, she played Elphaba in the sit-down
production of Wicked in Los Angeles, a role
she had understudied for on Broadway and
had been the stand-by for in Los Angeles.
She first performed the role on January 1,
2008, replacing Eden Espinosa. In May of
that same year, she left the production.
In 2009, Caissie starred as Sheila in the
Broadway revival of HAIR at the Al Hirschfeld
Theatre. She continued with that show but
left the Broadway production to play the
same role in the West End revival at the
Gielgud Theatre starting April 1, 2010. The
show closed September 4, 2010. It was not
too long after the closing of HAIR that she
started creating the part of Molly Jensen in
Ghost The Musical.
Intro
Table of
Contents
Video
Theatre
Chart
Richard Fleeshman, Sam and Caissie Levy, Molly: Did you learn anything doing this show?
11
Resource
Videos
Da’Vine Joy Randolph (Oda Mae Brown)
Da’Vine is a newcomer to Broadway. After receiving her B.A.
from Temple University in classical vocal performance, she
earned her M.F.A. in acting at the Yale School of Drama.
Da’Vine Joy Randolph Quick Look
Her regional theatre credits include Servant of
Two Masters at Yale Repertory Theater and HAIR
at Prince Music Theater.
• Ghost The Musical marks her Broadway debut
• Creating the role for the Broadway
production
• Playing Oda Mae Brown
• B.A. from Temple University in classical voice
performance
• M.F.A. in acting from the Yale School of
Drama
• Performed in Servant of Two Masters at Yale
Repertory Theater
• Appeared in HAIR at Prince Music Theater
• Has a diverse training background as a
classical vocalist and an actor
In creating the role of Oda Mae Brown for the original Broadway production, Da’Vine will be playing a
character who brings lightness and laughter to the show and a rock-soul-gospel feel to the music. Oda
Mae is a pivotal character in the plot and progression of the show.
Video
Da’Vine Joy Randolph, Oda Mae Brown: Did you learn anything from this show?
Bryce Pinkham (Carl Bruner)
Bryce received his B.A. from Boston
College and M.F.A. in acting from
the Yale School of Drama. He has
performed at numerous regional
theatres including appearances in A
Funny Thing Happened On The Way
To The Forum, Our Town and Beyond
Therapy (Williamstown), A View
From The Bridge (Guthrie Theater),
All’s Well That Ends Well and Woman
Of No Importance (Yale Rep) and The
Just and Much Ado About Nothing
(Chautauqua Theatre Co.).
On Broadway, he was featured
in the award winning and the
critically acclaimed musical Bloody
GHOST The Musical - Actors
Bryce Pinkerham Quick Look
• Plays Carl Brunner in Ghost The Musical
• Creating the role of Carl Brunner for Broadway
• Graduate of Boston College (B.A.) and Yale School of
Drama (M.F.A.)
• Featured on Broadway recently in Bloody Bloody
Andrew Jackson
• Performed in Knickerbocker Holiday with Kelli O’Hara,
Victor Garber and the American Symphony Orchestra
at Lincoln Center
• Has performed at the Williamstown Theatre Festival,
Guthrie Theatre and Yale Rep
• He’s a faculty member at the Meisner Studio
• Participates in Theater of War, which brings Greek
tragedies to American military audiences
Intro
Table of
Contents
Theatre
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12
Resource
Videos
Bloody Andrew Jackson and at Lincoln Center he performed in
Knickerbocker Holiday with Kelli O’Hara, Victor Garber and the
American Symphony Orchestra. Bryce is a proud collaborator
with Theater of War, a program that performs Greek tragedy for
American military audiences. His latest trips were to Guantanamo
Bay and Japan. His awards include an Oliver Thorndike Acting Award
and Lotte Lenya Singing Scholarship. He also teaches at the Meisner
Studio in New York.
Bryce plays Carl Brunner, whose plotting creates the circumstances
that change Sam’s and Molly’s lives forever. Carl is integral in the
not only Sam’s death but in motivating Sam’s determined efforts to
return to the world of the living.
Video
Bryce Pinkham, Carl Bruner: Have you learned anything in this process?
Lance Roberts (Hospital Ghost/Ensemble)
Lance, who grew up in Harlem and sang at the Apollo
Theatre, attended Tufts University when he landed
his first professional show, All Night Strut (Toronto).
He then played in the Boston production of that same
show and has been performing ever since. His Broadway
credits are numerous and include Peewee Herman
(King of Cartoons) and Sister Act. Off-Broadway he has
GHOST The Musical - Actors
Lance Roberts Quick Look
• Grew up in Harlem
• Sang at the Apollo
• Cast in his first professional show when in
college
• Broadway credits Peewee Herman (King of
Cartoons) and Sister Act
• March of the Falsettos, Radio City, and
Forbidden Broadway Off-Broadway
• Has played at Mark Taper Forum, McCarter
and Berkshire Theatre Festival
• Plays the Hospital Ghost in Ghost The Musical
performed in March of the Falsettos, Radio City,
and Forbidden Broadway (Hollywood edition).
Along with various national tours, Lance has
appeared on the stages of leading regional
theatres such as the McCarter, Mark Taper Forum, Berkshire Theatre Festival and San Diego Rep.
Table of
Contents
The Video Connection Interesting Death
Video
Theatre
Chart
Lance Roberts, the Hospital Ghost: What’s interesting to you about the Hospital Ghost?
Intro
13
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Videos
Artist-in-Residence
Artists-in-residence are guests brought into a school, civic organization,
college or theatre. They may be directors, actors, playwrights, dancers
or other such professionals. The artists are not fulltime employees of
the organization for which they work but are employed for a specific
amount of time (a few days, a week or longer). They may be hired to
teach certain skills, to perform a special role or to create a specific
performance piece.
Artistic Director
In not-for-profit theatre, artistic directors are in charge of the
various artistic aspects of the theatre such as choosing plays for
the theatre’s season, directing, casting and more. They help to
create a vision for the theatre that connects it directly to the community
and region. Often they are the primary individuals associated
with the theatre and the various programs they help to
develop. To bring their vision to life, they work closely with
the theatre’s Managing Director, who is in charge of the financial
aspect of the organization.
Arts Administrator
Those involved in arts administration run an arts organization or facility. Overall, they focus on
the financial and logistical aspects of the organization for which they work. In addition, their job may
require them to book programming, shows or acts. They often have experience or training
in business and/or some aspect of art, theatre, music or dance and possess a wide
range of knowledge about different artists, performing companies and styles of
performance.
Arts Center Director
This person oversees the day-to-day running of an arts center as well
as attending to long-range planning. He/She must possess a sound
business sense, be able to manage people and coordinate various types
of activities.
Arts Council Coordinator
Although coordinators of an arts council may have a background
in the arts, they primarily are involved in the business aspect
of the council. An arts council offers support to artists or
organizations and/or forms bridges between artists and the
community’s educational and civic organizations.
Intro
Arts Fundraiser
Fundraisers in the arts usually work with not-for-profit
theatres. Their job is to create various events that will help to
financially support the organization. Arts fundraisers are experts at
planning and running such events.
Table of
Contents
Theatre
Chart
14
Resource
Videos
Book Writer
In musical theatre, the book writer or librettist is the person who creates the story and writes the
dialogue. Book writers have a range of educational experiences with some being self-taught, others
studying at the undergraduate or conservatory level and still others attaining advanced degrees. To be
successful as a book writer, the author needs to have a facility for language, an understanding of story,
character and dialogue, and a working knowledge of the theatre. The professional organization for
book writers is the Dramatists Guild of America.
Bruce Joel Rubin (Book Writer and Lyricist)
Bruce was born in Detroit, Michigan and in 1960
graduated from Mumford High School. His screenplays
include Ghost, Jacob’s Ladder and The Time Traveler’s
Wife. In 1991, he received the Academy Award for Ghost
in the category of Best Original Screenplay.
Bruce, who lives with his wife Blanche in New York and
Los Angeles, is extremely interested in spirituality. Much
of his writing focuses on spirituality and those fleeting
moments that occur before and during death.
In 1993, he wrote and directed My Life, which
focused on a dying man collecting his memories on
video for his unborn child.
Bruce has been writing for more than 40 years
and continues to be a force in the entertainment
industry. He has two sons, both of whom are
screenwriters, and, along with his work in movies
and for the stage, he also teaches meditation.
Ghost The Musical is his first musical theatre piece.
For more insight into why he wrote Ghost, see his
essay “Why I Wrote Ghost,” in Part I of the study
guide.
Bruce Joel Rubin Quick Look
• Winner of Academy Award for Best
Original Screenplay Ghost
• Has written many screenplays, including
Jacob’s Ladder and The Time Traveler’s
Wife.
• Wrote and directed My Life starring
Michael Keaton and Nicole Kidman
• Was born and grew up in Detroit,
Michigan
• Has been writing for four decades
• Wrote the book and lyrics for Ghost The
Musical
• Ghost The Musical is his first musical
theatre piece
Video
Bruce Joel Rubin, Book and Lyrics: What did you learn in writing this musical?
Booking Agent
A booking agent is someone who usually represents road shows, performers, musical acts and other
types of performances, scheduling them into various theatres and other venues. This person handles
specific productions or acts and often works at putting together a string of bookings in a specific region
or a national tour. They are well versed in business, understand the requirements of the performances
they are booking and have a sound idea regarding what regions of the country will most likely be
attracted to a specific type of performance.
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Box Office Manager This person is in charge of monitoring each aspect of the day-to-day running of the box office, which
sells tickets to a show. The job includes overseeing the application of box office policy, monitoring
ticket sales and reconciling the day’s transactions. This person also oversees all box office workers. The
position calls for solid business, supervisory and communication skills.
Business Manager
Business managers supervise all accounting aspects of a theatrical company. They are charged with
carefully monitoring all financial transactions and reconciling each aspect of the budget so that the
budget remains balanced and the company does not overspend. They usually report to the Producer in
a commercial production and the Managing Director in a not-for-profit theatre.
Carpenter
A theatrical carpenter is a highly skilled individual who understands each and every aspect of
construction for the stage. Carpenters build the sets for a show and may be involved in maintaining a
set as well.
Casting Agent
Unlike a talent or personal agent, the casting agent works for a theatre or production company, not
for individual actors. The casting agent is hired by a theatre or production to book actors for auditions,
making sure the actors have the right skills and are the correct type for specific roles. The production
company or theatre pays the agent for his or her services.
Choreographer
Choreographers create and teach the dances for a production. They usually work closely with the
director on the concept for a production or a specific number. Choreographers tend to have a very
strong background in dance and have trained and/or worked for years. The professional organization is
the Stage Directors and Choreographers Society (SSD&C).
Ashley Wallen (Choreographer)
As a choreographer,
Ashley has a diverse
résumé that includes
commercials, TV
shows and the theatre.
He has created the
choreography for a wide
range of performers,
including Seal, Leona
Lewis and Alesha
Dixon. Ashley served as
associate choreographer
on Madonna’s film WE
and choreographer on
Friends With Benefits
with Justin Timberlake.
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Ashley Wallen Quick Look
• Broadway choreographer for Ghost The
Musical
• Has worked with Madonna on film WE
• Created choreography for Seal, Leona Lewis
and Alesha Dixon
• Has choreographed a range of popular
commercials
• Lipton Ice Tea commercial with Hugh Jackman
hugely popular on You Tube
• Has also choreographed numerous TV shows
• Ghost The Musical is his first musical theatre
piece
• Worked with the Black Eyed Peas for the
Oprah Winfrey special
• Choreographer on film Friends With Benefits
with Justin Timberlake
His award-winning commercials include the Gap
2009 campaign, the roller-skating Evian babies
and the T-Mobile dance in Liverpool Street
Station. Those commercials led to his working
with the Black Eyed Peas for the Oprah Winfrey
special. His scored a major hit on You Tube with
his choreography for Lipton’s Ice Tea, featuring
Hugh Jackman. Other credits include Dance X
for BBC1, where he also appeared as a judge
and mentor; The X Factor and It’s Now or Never,
both for ITV. His work on Ghost The Musical
marks his Broadway debut.
In Ghost The Musical his crisp, clean
choreography offers polished performances,
utilizes subtle nuance and reinforces a range of
emotions and dramatic actions.
Video
Ashley Wallen, Choreographer: Did you learn anything in doing Ghost The Musical?
Intro
Company Manager
This supervisory position involves managing personnel in a theatre company or production. This may
be at a regional theatre, for a touring company or for another type of stage production or venue.
Company manager duties vary but they tend to focus on the day-to-day efficient running of a theatrical
company.
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Composer
Composers for the theatre, who may or may not be trained in the art of musical theatre composition,
write songs for musicals, incidental music for stage shows and other such musical compositions. Some
are self-taught musicians while others go through years of intense formal training. The professional
organization for composers is the American Society of Composers, Authors and Publishers (ASCAP) and
the Dramatists Guild of America.
Dave Stewart (Composer and Lyricist)
Dave, who was born in Sunderland,
England, was just a teen when he
signed his first record deal. At that time
he was part of a folk-rock band named
Longdancer. In 1976, he met and
teamed with Annie Lennox and later
Peet Combs. Calling themselves The
Catch, they released a single on Logo
Records. Eventually, the band evolved
into The Tourists. The group saw some
success when it recorded the Dusty
Springfield hit “I Only Want to Be with
You.”
Stuart and Lennox were to continue their collaboration creating the highly successful group The
Eurythmics. Their hits included “Here Comes the Rain Again,” “Who’s That Girl?,” “Would I Lie to You?,”
“Missionary Man” and “Sweet Dreams (Are Made of This).” In 1999, the couple received a Lifetime
Achievement Award at the Brits, the equivalent of the Grammys. In over a quarter decade in the music
business, Dave has sold over 100 million albums. In the industry, he is considered to be hands-down
one of the finest writers and producers.
Dave Stewart Quick Look
Wrote lyrics and music for Ghost The Musical
Born in Sunderland, England
As a teen signed first record deal
Has sold more than 100 million albums
Teamed with Annie Lennox to create The
Eurythmics
• Hits include “Who’s That Girl?,” “Would I
Lie to You?,” “Missionary Man” and “Sweet
Dreams (Are Made of This)”
• 1999 Lifetime Achievement Award at the Brits
• Named to 100 Most Creative People in
Business by Fast Company magazine
•
•
•
•
•
Dave Stewart has not limited his energies
to the music world. The highly innovative
and creative artist is a successful multimedia
entrepreneur, author and dealmaker. His
combined business acumen, talent and
creativity earned him the honor of being
named to the roster of the 100 Most Creative
People in Business by Fast Company magazine.
He has shared the concert stage with some
of the greatest performers of rock and blues,
including B. B. King, U2, Eric Clapton, Bruce
Springsteen, Mick Jagger and Bob Dylan. Dave
continues to have an expansive career that
includes work in TV, film and musical theatre.
Intro
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Video Glen Ballard & Dave Stewart, Music & Lyrics: What did you learn in the process?
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Composer (continued)
Glen Ballard (Composer and Lyricist)
Glen was born in Natchez, Mississippi in 1953.
He became active in the music business in the
mid 1970s and in 1982 saw his career soar with
his involvement in the writing and recoding of
Michael Jackson’s innovative Thriller album. Since
that time, he has worked with the cream of the
crop in the music business, including The Pointer
Sisters, Aerosmith, Aretha Franklin, Paula Abdul,
Van Halen, Stevie Nicks and Katy Perry.
In 1995, the six-time Grammy award winner
scored big on Alanis Morissette’s Jagged Little Pill
Glen Ballard Quick Look
• Wrote lyrics and music for Ghost The
Musical
• Born in Natchez, Mississippi
• First gained fame for Michael Jackson’s
Thriller album
• Winner of six Grammys
• In 1995 won four Grammys for Alanis
Morissette’s Jagged Little Pill
• Won the Grammy for Best Song Written for
a Motion Picture for his song “Believe” from
The Polar Express
• Has sold more than 150 million records
• Is known as one of the most accomplished
producers, arrangers and writers in pop
music
(multi-platinum with 33
million sold worldwide),
winning four Grammys,
including Best Rock
Album and Album of the
year. Glen co-wrote and
produced that chartbusting record. In 2006,
he won the Grammy for
Best Song Written for a
Motion Picture for his
song “Believe” from The
Polar Express. That song
also was nominated for an
Oscar.
Glen has sold more than 150 million records
and is known as one of popular music’s most
accomplished producers/songwriters and arrangers.
His newest foray is into musical theatre, teaming
up with Bruce Joel Rubin and Dave Stewart. He
continues to be an innovator and creative force in
the highly competitive world of pop music.
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Glen Ballard & Dave Stewart, Music & Lyrics: What did you learn in the process?
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Conductor
Conductors are in charge of interpreting the music written by a composer and coordinating all aspects
of the score and musical arrangements with the orchestra. They ensure that the music is performed
in a consistent manner and in a way that illustrates the composer’s intentions. Conductors often have
advanced degrees in music and are adept piano players.
Costume Designer
Working closely with the director, the costume designer creates the costumes for all actors in a
production. Their designs help to indicate time period, place, and time of year as well as help to define
the both the characters and the style of the play. Costume designers often train in fashion design
or theatre design and understand not only design but costume construction. However, the actual
construction of costumes is a separate job and not the duty of the designer.
Rob Howell (Set and Costume Designer)
Rob’s work in theatre has been seen worldwide.
Not only has it won him numerous Olivier
nominations and awards, but also has earned
him recognition from the Tonys and the Dora
Awards (Toronto). His award-winning designs
include Troilus and Cressida, Vassa and Richard
III, which won the 2000 Olivier Award for Best
Set Designer. HeddaGabler was awarded the
2006 Olivier Award for Best Set Design and was
nominated for Best Costume Design. Lord of the
Rings (Toronto) received a 2006 Dora Award for
Outstanding Costume Design and a nomination
for Outstanding Set Design. His Tony nominations
include Best Costume Design of a Play in 2008
for Boeing Boeing and Best Set Design for The
Norman Conquests in the 2009.
Rob Howell Quick Look
• Set and Costume Designer for Ghost The
Musical
• Has received numerous Olivier Awards and
Tony nominations
• Olivier Awards includes Best Set Design
(2006) and Best Set Designer (2000)
• Created designs for the National Theatre,
Royal Shakespeare Company and Royal Court
Theatre.
• Tony nominations include Best Costume
Design of a Play in 2008 for Boeing Boeing
and Best Set Design for The Norman
Conquests in the 2009
• Rob’s designs have been seen on the world’s
major stages
• He is one of the most respected professionals
in his field
His designs for the National Theatre include The Observer, Her Naked Skin, The Reporter, Buried
Child, Chips With Everything, Troilus and Cressida, Money, Battle Royal and Howard Katz . For the
Royal Shakespeare
Company he has
designed The
Shakespeare Review,
The Painter of
Dishonour, Little
Eyolf, Richard III and
The Family Reunion.
For the Royal Court,
his designs include
Simpatico, Hard
Fruit, and Real Classy
Affair. Rob’s opera
credits include Turn
of the Screw for the
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Costume Designer (continued)
Welsh National Opera, Sophie’s Choice for the Royal Opera House, and Carmen which opened on
New Year’s Eve 2009 at The Metropolitan Opera in New York, .
Other designs include The Graduate in the West End, Australia, and on Broadway; Sunset Boulevard
for the UK Tour; True West at the Circle in the Square, New York; Little Malcolm and his Struggle
Against the Eunuchs at Hampstead Theatre and in the West End; and Betrayal at the Theatre
D’atelier, Paris, and on Broadway.
Rob’s set and costume designs for Ghost The Musical help to create specific environments and define
characters while enhancing the emotional and thematic elements of the production. His design work
has set the standard for others in the profession.
The Video Connection Advances
Video Rob Howell, Designer Sets & Costumes: Discuss important advances in computer design and technology.
Costume Shop Supervisor
Costume shop supervisors or managers oversee the day-to-day running of the costume shop, which
includes the construction, fitting and alteration of all costume pieces. They are in charge of making
sure the shop is properly stocked with supplies and materials, and all machines and other tools are
functioning properly.
Dancer
A dancer in the theatre must have a high level of skill and athletic ability and, depending upon the
show and the role, may also be required to sing and/or act. Dancers tend to have trained for many
years prior to becoming professionals.
Development Director
Development directors are in charge of all fundraising personnel and projects at a not-for-profit
theatre. They need to possess strong leadership skills, a solid understanding of all aspects of
fundraising and astute financial knowledge.
Dialect Coach
In the theatre, a dialect coach works with actors to help them accurately portray how people from
a certain region or country and from a specified time period speak. Dialect coaches possess a
high degree of training and skill and often utilize the International Phonetic Alphabet (IPA). Their
professional organization is the Voice and Speech Trainers Association (VASTA).
Intro
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Director
Directors of a stage productions are in charge of creating a vision of and/or concept for a specific
play. Every aspect of a production is the result of their efforts. They work with and guide all artistic
personnel, including actors, designers and writers, composers and lyricists. They must coordinate all
artistic elements into a unified whole. Although some stage directors will study the art at a university,
others start as actors, designers, musicians or in other such areas before becoming directors. To be a
director, one needs a solid understanding of people, an ability to lead and a strong sense of the stage.
The professional organization for directors is the Stage Directors and Choreographers Society (SSD&C).
Matthew Warchus Quick Look
• Director of Ghost The Musical
• Was born in England and studied music and
drama at Bristol University
• He won the Globe’s Most Promising
Newcomer Award for the West End
production of Much Ado About Nothing
• Olivier Award nominations for Henry V and
Volpone
• His production of Our House won the Olivier
Award for Best Musical
• His Broadway efforts on Boeing-Boeing
earned that show the Tony award for Best
Revival
• Directed the Broadway revival of Alan
Ayckbourn’s The Norman Conquests and the
hit West End and Broadway productions of
Yasmina Reza’s God of Carnage.
* Directed Matilda, now playing at the West
End in London
• Matthew possesses an international
reputation as a theatre director
directed the multi-awardwinning production of Reza’s Art.
Matthew Warchus (Director)
Born in the United Kingdom, Matthew studied
music and drama at Bristol University. He
developed an international reputation as a
theatre director. Early in his career, he won
the Globe’s Most Promising Newcomer Award
for the West End production of Much Ado
About Nothing. Henry V and Volpone earned
him the Evening Standard Best Director award
and nominations for the Olivier Award. His
West End production of Our House won
the Olivier Award for Best Musical and his
Broadway efforts on Boeing-Boeing earned
that show the Tony Award for Best Revival.
Other theatre credits include critically
acclaimed productions of The Winter’s Tale,
The Unexpected Man and Hamlet for the
Royal Shakespeare Company and Buried
Child, Life x 3 and Volpone for the National
Theatre. He directed the Broadway revival of
Alan Ayckbourn’s The Norman Conquests and
the hit West End and Broadway productions
of Yasmina Reza’s God of Carnage. He also
Other directorial highlights
include the musicals Follies and
The Lord of the Rings and opera
productions of Cosi Fan Tutte
and Falstaff for English National
Opera and Troilus and Cressida
for Opera North.
Intro
Matthew’s work on Ghost The
Musical has created a production
with theatricality, emotion and
humanity. His ability to envision
and direct complex theatrical
works is unsurpassed.
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Director (continued)
The Video Connection A Director’s Work
Video Matthew Warchus, Director: How do you describe your job as a director?
Questions for you:
1. In what ways are you creative?
2. What part of a creative team would you like to be and why?
3. What important attributes does it take to work collaboratively?
4. What attributes make for a successful artist?
5. What were some aspects of the project that attracted the creative people to this
show?
6. Which of these creative people do you think you’d be able to work with on a project?
Drama Therapist
To become a drama therapist one usually needs to attain an advanced degree in the subject from a
college or university. Drama therapy utilizes aspects of theatre in treating children and adults who are
dealing with emotional and psychological issues and challenges.
Dramaturg
In the theatre, the dramaturg often serves two purposes. He/She will perform research on a play that
is going into production, sharing that research with the director, cast members, designers and others
involved in the production. That research may relate to past productions, the historical time in which
the play is set, the playwright, etc. The dramaturg may write an essay or essays that will appear in
programs and displays related to the production. The other function of a dramaturg is to act as an
in-house critic of a new play in development. He/She works with the playwright and director, asking
questions regarding the play as it is in development and helping to steer the script to successful
completion. Often dramaturgs have an interest in and have studied history and dramatic literature.
They may have an advanced degree in dramaturgy, theatre history or playwriting. The professional
organization for dramaturgs is the Literary Managers and Dramaturgs of the Americas (LMDA).
Draper
The draper works in the costume shop and is responsible for creating the patterns, executing the
designs for and the fitting of women’s costumes. Drapers must have a keen understanding of costume
construction and be highly skilled in that area.
Electrician
In the theatre, electricians are responsible for implementing the light plot for a production. (A
light plot is a blueprint that illustrates the lighting design for the director, other designers, and the
electricians.) In addition, they install wiring for the lighting and focus all instruments. They must have a
solid understanding of lighting, circuiting and other aspects related to theatre lighting. They also work
in other areas of the production that require the use of electricity and maintain all electrical aspects of
a production.
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Grant Writer
A grant writer is a highly-skilled fundraiser who is able to coordinate all aspects of the grant writing
process for a theatre. This includes the creation of budgets, the formulation of a plan indicating how
grant money will be used, and completing the grant application. A grant writer must be able to meet
strict deadlines, coordinate a vast amount of information from different sources and understand
specific requirements as outlined in each grant they write.
Hair and Makeup Coordinator
Although many theatres will include hair and makeup as part of the costume staff’s responsibilities,
this is a highly specialized area. Hair and makeup coordinators must be able to create looks that are
connected to certain time periods, character types and specific situations. They may be called upon
to develop the hair and makeup for a play set in 17th century France, devise makeup for a modern
day burn victim, or perhaps create old age makeup. They must be knowledgeable of history, including
fashion, the various tools at their disposal and techniques related to the field.
House Manager
This person is in charge of the audience and lobby area of the theatre, also known respectively as
the “house” and “front of house.” The house manager must make sure everyone is seated before the
performance begins, that all parts of the house and lobby are being properly run and that these efforts
are coordinated with the stage manger who is in charge of all elements of the performance.
Illusionist
Illusionists are responsible for creating any “magic” or illusions in a show. They are highly trained in
the art of illusion and must be able to make an illusion consistently repeatable in a believable manner.
They work closely with all designers on a production as well as the director, technicians and actors.
Paul Kieve (Illusionist) Paul, born in Woodford, Northeast London
in 1967, has had a lifetime fascination with
the history of magic. He has redefined the art
for both stage and film. Paul was 10 when he
received his first magic kit and by the age of
16 he was performing publically. Through the
following year he appeared on television and
competed for the title of “Young Magician of the
Year.” (He earned the Runner-Up award.)
In 1986, he formed The Zodiac Brothers, which
featured Paul and Lawrence Leyton. They
worked together for five years at Magic Castle in
Hollywood. Along with his consulting and staging
jobs for stage and film, Paul performs as a solo
act at various venues, including Shakespeare’s
Globe Theatre and the Palais De Congress.
Paul Kieve Quick Look
•
•
•
•
•
•
•
•
•
Created illusions for Ghost The Musical
Was born in Woodford, Northeast London
Received his first magic kit at the age of 10
As a teen was Runner-Up for “Young Magician
of the Year”
Has consulted and created illusions for stage,
TV and film
His staging of The Invisible Man holds the
world record for most illusions in one show
Critically acclaimed work on Lord of the Rings
Musical at the Theatre Royal Drury Lane
Directed Matilda, now playing at the West
End in London
He is one of the most sought after magic
consultants in the world
Paul’s original illusions and magical stage effects have included turning children into mice, vanishing
Hobbits, and staging The Invisible Man, which holds the world record for most illusions in one show.
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Illusionist (Paul Kieve continued)
His illusions and magic
effects for the West
End production of Lord
of the Rings Musical at
the Theatre Royal Drury
Lane won praise from
critics and audiences.
He is a member of
London’s Magic Circle,
which is one of the
largest magician groups
in the world.
Other West End work
includes Matilda,
Zorro, The Woman in
White, Our House, The
Witches, The Witches of Eastwick and Scrooge. He has worked on many productions with the Royal
Shakespeare Company and National Theatre. Additional credits include The Phantom of The Opera
tour, Batman Live and the ballet Alice In Wonderland (English National Ballet and The Royal Ballet) as
well as many television shows.
Film work includes illusions for Hugo directed by Martin Scorsese, magic coach for Anne Hathaway in
the upcoming Batman film and magic consultant to Harry Potter and the Prisoner of Azkaban (in which
Paul also appears). He authored
of Hocus Pocus (Bloomsbury),
which has been published in
11 languages and features an
introduction by his magic student
Daniel Radcliffe.
For Ghost The Musical, Paul has
created masterful illusions that
bridge the gap between the
world of the living and the dead.
His work is essential to ensuring
the full emotional impact of the
stage production.
The Video Connection Challenges
Video Paul Kieve, Illusionist: What was the biggest challenge with Ghost The Musical?
Intro
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The Video Connection Whimsy
Video
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Whimsy Paul Kieve, Illusionist: Paul Kieve imagines magic in a cup of water
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Lighting Designer
The lighting designer is in charge of creating the lighting configurations that illuminate a production.
The designer must have a wide range of knowledge of lighting instruments, color medium (gel),
lighting positions, circuitry and more. He or she works closely with the director and all other designers
to coordinate their efforts. As it is with all other designers, lighting designers must have a solid
understanding of the script, including themes, plot progression and basic physical components.
Hugh Vanstone (Lighting Designer)
Hugh is the winner of three Olivier
Awards for Best Lighting Designer. His
first award was earned in in 1998 for
The Unexpected Man (RSC) and The
Blue Room (Donmar). In 2000 he won
for The Graduate (West End) and The
Cherry Orchard (National Theatre). His
latest Olivier came in 2004 for Pacific
Overtures (Donmar).
With over 160 productions to his
credit, Hugh has managed to work
for most of the United Kingdom’s
Hugh Vanstone Quick Look
• Lighting designer for Ghost The Musical
• Has won three Oliviers
• Received two Tony nominations for Mary
Stuart and Spamalot
• Olivier Award nominations for Henry V and
Volpone
• First Olivier earned in in 1998 for The
Unexpected Man (RSC) and The Blue Room
(Donmar)
• Latest Olivier came in 2004 for Pacific
Overtures (Donmar)
• He has created designs for more than 160
productions
• Has designed for numerous tours
• One of the most sought after lighting
designers in the UK
national companies and his work has been
seen extensively on Broadway. His work
on Broadway has resulted in TONY award
nominations for Mary Stuart and Spamalot.
Highly sought after, this lighting designer’s
most recent work includes The Wizard of Oz
(West End), Matilda (RSC), Deathtrap (West
End), La Bête (West End & Broadway), Shrek
(London and US Tour) and The Real Thing (Old
Vic). He also has designed Arabian Nights
(RSC), A Steady Rain (Broadway) and Tanz der
Vampire (Vienna & Berlin).
His work on Ghost The Musical includes
emotionally-defining moments and intense and
contrasting transitions.
Intro
The Video Connection Modern Technology
Video Hugh Vanstone, Designer Lighting: How has modern technology changed your approach to lighting?
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Literary Manager
In the theatre, the literary manager is charged with coordinating the evaluation of new plays,
making recommendations to the artistic director or producer concerning new work and overseeing
the processing of all new works sent to the theatre or company. He/She must have a thorough
understanding of plays and be knowledgeable about production requirements. The literary manager
needs to be aware of the types of plays that interest a specific artistic director or producer. The
professional organization for literary managers is the Literary Managers and Dramaturgs of the
Americas (LMDA).
Lyricist
In musical theatre and in other areas of music, the lyricist is the artist who writes the words that are
sung. Lyric writing may be done by the composer, the book writer or by a separate individual. The
lyricist must have a thorough understanding of rhythm, rhyme and various other poetic elements of
language such as metaphor and simile. They must also have an understanding of character, conflict
and other aspects of storytelling and have a certain sense of music and singing. The professional
organization for lyricists is the American Society of Composers, Authors and Publishers (ASCAP) and
the Dramatists Guild of America.
Managing Director
In not-for-profit theatres, managing directors oversee and are
in charge of all areas of the organization that relate to money.
They are responsible for helping to ensure that the artistic
director is able to realize his/her artistic vision for that theatre.
To do that, managing directors must be involved in long range
financial planning as well as the day-to-day running of the
theatre. To be a managing director, one needs to be proficient
in various aspects of business, be able to supervise a wide range
of people and coordinate a wealth of information relating to the
financial health of the theatre. Managing directors often have
a strong background in business and may possess an advanced
degree in arts
management.
Intro
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Marketing Director
Marketing directors coordinate all aspects of marketing a show, whether it be advertising, social
media, blogging, YouTube or other areas. In addition, they must be able connect with corporations
on a personal level. They are responsible for creating and monitoring marketing campaigns while
keeping them within budget. They develop connections with media outlets, understand how to utilize
various forms of positive exposure, and look for innovative ways to sell the show while maintaining
a consistent image for that show. In order to work in this area, you need to possess excellent
communication skills, be inventive and have a thorough understanding of the expanding field of mass
communications. This position calls for a high level of organization.
Kristen Rathbun Marketing Account Supervisor for SPOTCO
Kristen serves as the Marketing Account
Supervisor for SPOTCO, New York, NY,
a leader in entertainment and arts
advertising. At SPOTCO, she works to
create meaningful partnerships and
promotions in order to gain exposure
for Broadway shows. Her job includes
facilitating budget and overseeing the
execution of more than three public
events on a weekly basis.
In 2007, Kristen graduated from the
State University of New York at Geneseo
with a major in Communications and
a minor in Business Studies and Public
Kristen Rathbun Quick Look
•
•
•
•
Grew up performing as a dancer and actor
Was active in college in theatre and dance
Graduated from SUNY Geneseo in 2007
Major in Communications and a minor in
Business Studies and Public Relations
• Started at SPOTCO as an Account Coordinator
in 2007
• Marketing Account Supervisor at SPOTCO
since 2010
• Marketing Account Supervisor on various
Broadway shows including Ghost The Musical
Relations. From the time she was young and
throughout college, she had an affinity for
performance that included being actively
involved in theatre and dance. Kristen had a
strong desire to continue that connection with
the arts after graduating from college and
wound up choosing a career path in marketing
that focused on arts and entertainment. She
started at SPOTCO as an Account Coordinator
and within a year became an Assistant
Account Executive. She was selected as the
company’s new Marketing Account Supervisor
in 2010.
The
Video Connection Broadway Marketing
Intro
Video Kristen Rathbun, Marketing Account Supervisor, SpotCo: What’s the most challenging part of Table of
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Video Kristen Rathbun, Marketing Account Supervisor, SpotCo: When someone is a “sponsor” of the Theatre
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your job?
show what does that mean?
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Questions for you:
1. What makes you want to see a musical or play?
2. If you were a producer what would you look for in a musical or play?
3. What are some of your favorite shows, books, TV programs, or movies? Are they
really popular with others? Why do you think they are or aren’t?
Music Arranger and Orchestrator
Artists in their own right, music arrangers and orchestrators coordinate all of the music in a
production, creating the parts to be played by the musicians and sung by the performers. They devise
a score that works towards heightening the emotional effect of the musical or play. They have a high
degree of musical skill and a deep understanding of composition and how music works.
Christopher Nightingale (Musical Supervisor, Arranger and Orchestrator) Christopher possesses a wide range of
theatre credits, including co-composer
of The Lord of the Rings (London and
Toronto), for which he also served
as Musical Supervisor, Arranger and
Orchestrator. He was Musical Supervisor
and Co-Arranger for Andrew Lloyd
Webber’s Bombay Dreams, and he
composed additional arrangements
and was the Musical Supervisor for the
Pet Shop Boys’ Closer to Heaven (Arts
Theatre).
He has worked extensively with the Royal
Shakespeare Company (RSC). For the RSC,
Christopher was Musical Director/Keyboards on
The Plantagenets, The Tempest, The Comedy of
Errors, A Clockwork Orange, The Plain Dealer,
Pericles, Much Ado About Nothing, Henry IV Part
I, Singer, Some Americans Abroad, Playing With
Trains, ‘Tis Pity She’s a Whore, The Changeling,
Romeo and Juliet and Tamburlaine.
As an organ scholar at Magdalene College,
Cambridge, Christopher was Musical Director of
the Cambridge Footlights for three years before
graduating in 1987 and working for the Royal
Shakespeare Company.
Christopher Nightingale Quick Look
• Co-composer of The Lord of the Rings
(London and Toronto)
• Musical Supervisor, Arranger and
Orchestrator for The Lord of the Rings
• Musical Supervisor and Co-Arranger for
Andrew Lloyd Webber’s Bombay Dreams
• Orchestrator and wrote additional music
for Matilda the Musical (RSC Stratford and
London)
• Has work extensively at the RSC
• Has worked numerous times with director
Matthew Warchus
• Musical Supervisor, Arranger and
Orchestrator for Ghost The Musical (London
and US)
Intro
His numerous concerts include Choral Musical
Director for Celebration and Andrew Lloyd
Webber’s 50th birthday concert (Royal Albert Hall). Christopher’s conducting debut occurred in 2008
at St. Martin-in-the-Fields for an evening of Mozart with the Locrian Ensemble.
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Music Arranger and Orchestrator (Christopher Nightingale)
He recently served as Musical Supervisor, Orchestrator and wrote additional music for Matilda
the Musical (RSC Stratford and London). His work on Ghost The Musical includes highly detailed
arrangements that utilize reoccurring musical themes and phrases, and musical underscoring focused
on intensifying emotions and actions in the musical.
The Video Connection Taking on the Challenge
Video Christopher Nightingale, Musical Supervisor, Arranger & Orchestrator:
What are some of the challenges in turning the film into a musical?
Music Director
The person in this position works closely with all performers who sing in a production. He/She teaches
each individual performer and the chorus their musical parts, working to make sure they are able to
properly sing their roles in healthy manner. Along with understanding music, musical directors need
to have a good sense of each character in the play, knowledge of how lyrics work and be proficient in
various singing techniques. Music directors are highly trained and often possess advanced degrees.
David Holcenberg (Musical Director and Conductor)
David has a long list of Broadway credits that
include Bye Bye Birdie, The Story of My Life,
Mamma Mia!, Good Vibrations, Seussical, Titanic
and Showboat. He recently was the music director
for the much anticipated world premiere of
Disney’s Newsies at the Papermill Playhouse.
Other credits include the US premiere of Ragtime
for which he received the Los Angeles Drama
Critics Circle Award: Distinguished Achievement
in Music Direction; Dessa Rose and The Glorious
David Holcenberg Quick Look
Mamma Mia! (Broadway)
Bye Bye Birdie (Broadway)
Seussical (Broadway)
Titanic (Broadway)
Showboat (Broadway)
Music directed the world premiere of
Disney’s Newsies
• His show Bingo, written with Michael
Heitzman running in US and other countries
•Musical Director & Conductor for Ghost The
Musical
•
•
•
•
•
•
Ones at Lincoln Center Theatre; and The
Phantom of the Opera in Toronto. His show
Bingo, written with Michael Heitzman and Ilene
Reid, is playing nationally and internationally.
David, who has conducted at Carnegie Hall
and on PBS for Irish tenor Ciaran Sheehan,
is currently Associate Music Supervisor for
Mamma Mia! in North and South America.
Intro
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The Video Connection A Day In his Life
Video David Holcenberg, Musical Director & Conductor: What is your job as Director and Conductor
of Ghost The Musical?
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Musician
Musicians in the theatre are most often associated with the pit band for musicals. Pit musicians are
highly skilled and are able to read music easily and quickly. They must be able to play at a consistently
high level. Most musicians have years of training and practice, and often study at a conservatory or
other such institution.
Outreach Coordinator
Often a theatre will develop programming designed to connect with the community in a way
that regular productions cannot. This is known as outreach programming. It may involve special
performances outside of the theatre in the community, programs where theatre professionals work
with school children, or a special lecture series held at the theatre that is free to the public. The
outreach coordinator develops and implements all aspects of a theatre’s outreach program. In doing
so, they often will work closely with the development director or grant writer to access funding for
these programs.
Personal Manager
Some theatre professionals, especially actors, eventually will work with a personal manager. The
personal manager is like a talent agent in that he/she negotiates contracts for the actor. However,
personal managers do much more. They manage the career of specific talents, coordinating press
coverage, helping to set up deals, and creating a career plan and executing it. The personal manager
offers a much higher level of individualized attention than a talent agent.
Playwright
Playwrights create scripts for theatre productions. Many playwrights develop scripts on their
own, independent of a theatre, and then send their work to literary agents, theatres, producers
and contests in hopes of getting their plays produced. Playwrights also may be commissioned by
theatres to produce work or they may be in-residence at a theatre where they write and perform
other functions related to play development. There are no educational requirements for playwrights
although many have college and advanced degrees. The primary attributes a playwright needs are a
complete understanding of how the theatre works, a passion for writing, and an in depth knowledge
of structure, character, language and story. The professional organization for playwrights is the
Dramatists Guild of America.
Press Agent
This professional works for an individual talent helping to get him/her positive recognition in the press,
including newspapers, magazines, TV and social media outlets on the Internet.
Production Manager
Although not all theatres have a production manager, this can be an invaluable position. The
production manager will handle the budgeting of all production expenses, pricing out designs and
coordinating the acquisition of materials while keeping the production on budget. If a theatre does
not have a production manager, this job may fall to the technical director. In order to be a production
manager, a person must have a thorough understanding of all technical and design elements (including
construction), a working knowledge of budgeting, and the ability to estimate work hours for crews.
Most production managers have been active in the field as technical directors, assistant designers or in
other related areas.
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Producer
The producers of a show are responsible for raising the money from investors for a commercial
production and hiring all the talent, renting all spaces and paying for all aspects related to that
production. They make the ultimate money decisions regarding the show and are entrusted by
investors to do the best they can to ensure the production is profitable. Producers need to have an
extremely strong sense of business, especially in regards to the theatre, contracts and negotiations,
and must be savvy about the industry as a whole since they make the decisions about which plays get
produced in the commercial theatre.
Colin Ingram (Producer/General Manager)
Colin, who founded Colin Ingram Ltd in 2005,
has been involved in numerous well-known
productions. Prior to heading Disney Theatrical in
the United Kingdom for two years, Colin Ingram
spent six years with Cameron Mackintosh. He later
served as Executive Producer for the inaugural and
second season of Kevin Spacey’s Old Vic Theatre
Company. He worked with Sally Greene as the
Executive Producer on the hit musical Billy Elliot.
His work as an Executive Producer and General Manager is far ranging and includes Movin’ Out, Les
Misérables, Phantom Of The Opera, The Lion King, Beauty And The Beast, Oklahoma!, Witches of
Eastwick, Vagina Monologues, Richard II, Hamlet, Philadelphia Story and Aladdin.
After graduating in Law and International Finance, he became qualified as a Chartered Accountant at
PricewaterhouseCoopers. He credits his business
training as a major asset when it came to raising
Colin Ingram Quick Look
large amounts of money from the private sector
• He heads Colin Ingram, Ltd in London
and successfully producing shows with large
• Focuses on developing and financing new
budgets in major venues around the world.
musicals and plays
• Has worked with Cameron Mackintosh and
for Disney Theatricals, UK
• Executive Producer on the hit musical Billy
Elliot
• Earned a degree in Law and International
Finance
• Served as a Chartered Accountant at
PricewaterhouseCoopers
• Produced and general managed Breakfast at
Tiffany’s starring Anna Friel at the Theatre
Royal Haymarket
• Producer of Ghost The Musical
His company Colin Ingram Ltd, which is based in
London, focuses on developing and producing
new theatre productions and offering general
management services to other producers.
Colin recently produced and general managed
Breakfast at Tiffany’s starring Anna Friel at
the Theatre Royal Haymarket and is presently
working on transferring it to Broadway. With
Ghost The Musical, he continues to be a major
force and visionary in the development and
financing of new musicals and plays.
Intro
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The Video Connection There’s No Business like...
Video David Garfinkle & Colin Ingram, Producers: How much of producing is “show” and how
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much is “business?”
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Producer (continued)
David Garfinkle (Producer) David has been in
the entertainment business for over 20 years. A
graduate of Duke University and Boston University
School of Law, he founded and was Managing
Partner of The Entertainment and Intellectual
Property Group, concentrating on entertainment
law, including theatre, film, television, music,
publishing and the Internet.
David is the founding producer of Broadway’s
Spider-Man: Turn Off the Dark, which was directed
by Julie Taymor and features music and lyrics by
Bono and The Edge. He served as a lead producer
David Garfinkle Quick Look
• President and Chief Executive Officer of
HELLO Entertainment
• Producer of Broadway’s Spider-Man: Turn Off
the Dark featuring music and lyrics by Bono
and The Edge with direction by Julie Taymor
• Serves as the President and Chief Executive
Officer of HELLO Entertainment
• Lead producer Drama Desk nominated The
Immigrant
• Founding and Managing Partner of The
Entertainment and Intellectual Property
Group
• Has been involved in just about every
entertainment venue
• Producer of Ghost The Musical
of The Immigrant, which received Drama Desk
nominations for Best Book and Orchestrations,
and also produced three-time Tony Award-winner
Hinton Battle’s live stage production Hinton Battle:
Largely Live.
He serves as the President and Chief Executive
Officer of HELLO Entertainment. David created the
theatrical production company with the late Tony
Adams. For two decades, he served as production counsel on numerous film, television and theatrical
productions. His involvement, influence and experience in all entertainment venues has been far
reaching.
The Video Connection There’s No Business like...
Video David Garfinkle & Colin Ingram, Producers: How much of producing is “show” and how
much is “business?”
Intro
Property Designer/Manager
These particular designers often work with the set designer. They may design props and/or may
purchase or find them depending upon the needs of a production. Along with hand props used by the
actors, the property designer also may be concerned with set dressing. Along with possessing a strong
understanding of fashion, design and history, the property designer must be adept at understanding
mechanics and the internal workings of mechanisms.
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Public Relations Director
This person coordinates all parts of a show’s public relations campaign, which relates to how they are
perceived by the public through various press outlets. The director of public relations will arrange for
those involved with the production to do print and television interviews, make public appearances and
participate in other publicity-related events.
Scenic Artist
In the theatre, scenic artists are a highly skilled painters with a vast knowledge of painting technique
and style for the theatre. They paint all set pieces, backdrops and other related scenic items.
Scenic Designer
The scenic designers, along with all other designers in the theatre, work very closely with the director.
They are in charge of designing the physical aspect of the production. Their designs help to indicate
time period, place, style of production and more. A strong sense of history, in-depth play analysis
skills and an excellent sense of space and mechanics are all important. They also need to be a skilled
artist and knowledgeable about theatre history. Many designers possess university degrees, attend
conservatory programs or attain advanced degrees. The union for those in the theatre working as
designers, artists and craftspeople is United Scenic Artists (USA).
Sound Designer
Sound design is a relatively new area in the theatre and includes all aspects of sound creation and
reinforcement such as the use of digitized or synthesized sound effects, placement of speakers and the
use of microphones. A sound designer has to work closely with the director, actors and those involved
in the musical elements of the production.
Bobby Aitken (Sound Designer) Bobby, who
has been working in theatre sound for over
two decades, has designed for productions
in the United Kingdom and around the
world. Worldwide his work has been heard in
numerous musicals including MAMMA MIA!,
Grease, Dirty Dancing and We Will Rock You.
Bobby won the 2005 Helpmann Award for Best
Sound Design for the Australian production of
We Will Rock You. He created the sound for the
New York production of Lennon.
Stage credits in the UK include Five Guys
Named Moe, Which Witch?, Metropolis, Pete
Townshend’s The Iron Man, High Society, Time,
The Fix, The Beggar’s Opera and Bartholomew
Fair (Royal Shakespeare Company). His opera
credits are numerous and include Carmen,
Madama Butterfly, Aïda, Cav and Pag, Tosca and
La Bohème.
Bobby Airken Quick Look
• Sound designer for Ghost The Musical
• His work has been heard around the world
• Worldwide has designed for MAMMA MIA!,
Grease, Dirty Dancing and We Will Rock You
• Has created numerous designs for the Royal
Shakespeare Company
• Opera credits include Carmen, Madama
Butterfly, Aïda, Cav and Pag, Tosca and La
Bohème
• Won the 2005 Helpmann Award for Best
Sound Design for the Australian production of
We Will Rock You.
• He designed the sound for the New York
production of Lennon
• Other UK productions include Five Guys
Named Moe, Which Witch? and Metropolis
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His work on Ghost The Musical includes creating a complex and seamless mix of voices, musical
instruments and sound effects to ensure the sound elements achieve their full effect on various levels
of the theatre.
Intro
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Sound Designer (continued)
The Video Connection Music Talks on Working with Sound
Video David Holcenberg, Music Director & Conductor: How do you work with the sound designer and synthesized sound?
Special Effects Technician
Special effects in the theatre can be especially dangerous and must be handled with great care. Special
effects technicians may work with fire, flash powder and other such materials. Along with making sure
the effect works properly and consistently, they also must ensure the safety of all involved.
Stage Combat Choreographer
The stage combat choreographer is an individual who has been trained and certified in stage combat
by the Society of American Fight Directors (SAFD). Choreographers may be certified in hand-to-hand
and/or in weaponry. These are trained professionals who are able to stage fights that look realistic but
actually are highly structured and, as long as they are properly performed, safe in which to engage. A
“fight” may be as simple as a slap to the face or as complex as a sword fight between opposing forces.
Stagehand
Stagehand is another term for theatre technician. Traditionally, a stagehand is someone who shifts
scenery, but their scope of activity is much broader. See “technician” for a more comprehensive
definition. They are members of the International Alliance of Theatrical Stage Employees (IATSE).
Stage Manager
In the theatre, the stage manager oversees the coordination of the entire production. They are in
charge of keeping the “book,” which contains every aspect of the production, including blocking,
designs, contact information, cues, etc. The stage manager, who like the actors is a member of Actors’
Equity Association, is charged with maintaining the artistic integrity of a production during its run.
During the run of the show, stage managers “call” each performance, which means they tell each
technician (lighting, sound, fly, etc.) when to execute each of their cues.
Stitcher
This is a costume shop worker who sews and alters costumes. The costume shop manager oversees
the stitchers in the shop. A stitcher must be adept at sewing and understand a variety of stitching
techniques to perform the detailed work necessary on costumes.
Talent Agent
This is someone who represents actors in contract negotiations. The money the agent earns is based
on a percentage of the pay he/she negotiates for the actor. The job also involves setting up auditions
for each or their clients and following up on auditions. They are also known as acting agents, personal
agents and actor’s agents.
Technical Director
In the theatre, the technical director coordinates all aspects of set construction and supervises the
load-in and set-up of the scenic elements, making sure to coordinate it with all other production
areas. Technical directors need to understand and have a broad working knowledge of budgeting,
construction techniques, fire and safety codes, materials and more.
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Technician
In the theatre, technician has a wide range of meanings but the term most often is associated with
a person who operates technical equipment, such as a light board, follow spot or sound systems. In
some productions, a technician may perform only one job, while in other shows, the technician may
have varied responsibilities. The union for this group is the International Alliance of Theatrical Stage
Employees (IATSE). They are also known by the term “stagehand.”
Theatre Librarian
What differentiates a theatre librarian from another librarian is the focus. A theatre librarian often
works in special collections or a library devoted to theatre artifacts and research. This person needs
to be well versed in the areas of theatre history, literature and the preservation of original historical
documents and artifacts. Librarians possess an advanced degree and in-depth training in the field.
Theatre Teacher
Those who are theatre teachers work on the elementary and secondary school levels and may run
private teaching organizations such as studios or institutes. They often have degrees in education with
an emphasis on theatre, music, dance or the performing arts and teach theatre to children.
University Professor
Those who teach at the university level often specialize in a specific area or areas of theatre. They
possess an undergraduate degree, usually in theatre or drama, and an advanced degree, either
a Master of Fine Arts (MFA) or Doctor of Philosophy (Ph.D.) in some aspect of theatre. Areas of
specialization include theatre history, literature and criticism, acting, directing, dramatic writing, design
and stage management. Often university professors maintain strong professional contacts, working in
the field as directors, actors, designers, playwrights, etc.
Video and Projection Designer
This is the newest area of design, having just been developed in the last 30 years or so. Video and
projection designers are on the cutting edge of design, creating digitized scenery and effects, utilizing
the power of high definition video and integrating it with all other design elements. Along with having
a vast working knowledge of current and developing technology, the designer must be able to analyze
plays, understand each aspect of the stage and have knowledge of an array of artistic and performance
styles.
Jon Driscoll (Video and Projection Designer)
After
training at the National Film and Television School
and Croydon College of Art, Jon has gone on to
create cutting edge video and projection designs for
numerous first class productions. His work on Ghost
The Musical includes an array of powerful effects
and designs.
His theatrical work includes Wizard of Oz (The
Palladium), Birdsong (Comedy), Love Never Dies
(Adelphi) and Enron (Noel Coward). He has also
designed All’s Well that Ends Well, The Observer,
Gethsemane, Her Naked Skin, Fram, A Matter of
Life and Death, The Reporter (National Theatre),
Jon Driscoll Quick Look
• Trained at National Film and Television School
and Croydon College of Art
• Specializes in Video and Projection Designer
• Has worked on diverse theatrical productions
• In high demand in United Kingdom
• Work includes plays, musicals, ballet and
opera
• Received numerous Olivier nominations
• Created designs for more than a half-dozen
National Theatre productions
• Developed and designed the spectacular
video and projection designs for Ghost The
Musical
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Midnight’s Children (Royal Shakespeare Company) and Frost/Nixon (Donmar).
He has revealed his diversity by designing a wide range of shows such as When Harry Met Sally
(Theatre Royal Haymarket), On the Third Day (Ambassadors), Dance of Death (Lyric/Sydney) and
Rebecca, God and Stephen Hawking (Tour). He’s also designed the ballet Alice’s Adventures in
Wonderland (Royal Opera House) and numerous operas, including A Midsummer Night’s Dream
(Royal Opera House), The Magic Flute (Grange Park), Genoveva (Opera North) and Orfeo (Kent Opera).
Jon serves as a Technical Associate for the National Theatre.
His designs have received numerous Olivier awards. Ghost The Musical includes powerful images
and quick cut effects that work towards creating environments, enhancing emotions and supporting
musical numbers and scenes.
The Video Connection Sets Working With Video Projections
Video Rob Howell, Designer Sets & Costumes: How did you work with Video and Projections
Designer Jon Driscoll?
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of Communication, Creativity, and Collaboration
The Process of Bringing a Show to Broadway
Putting it all together
The point of performance is to make the difficult look easy. As a result, few realize the enormous amount
of time and effort needed to bring a production to the stage. What you are about to read is the story of
Ghost The Musical—however, the process is similar for many Broadway shows.
Indeed, this is a tale of communication, creativity and collaboration on the part of many talented and
dedicated individuals.
Securing the Rights
A GHOSTLY TALE
A Ghostly Tale...
It was about seven years before the Broadway premiere of Ghost The Musical when producers Colin
Ingram and David Garfinkle traveled from New York City to upstate New York to visit with Bruce Joel Rubin
at his home. Rubin had written the screenplay for the film Ghost and won the Academy Award for his
efforts. The 1990 movie starring Patrick Swayze, Demi Moore and Whoopi Goldberg (who won the Oscar
for her portrayal of Oda Mae Brown) was a huge hit.
In fact, various parts of the movie became iconic, including the word “ditto,” the song “Unchained
Melody” and the pottery scene, later parodied in movies, TV shows and on the Internet. Writer Bruce Joel
Rubin owned the rights to the screenplay and Ingram and Garfinkle wanted to convince him to allow them
to start the process of turning the film script into a musical.
At first, Rubin was not interested, feeling his hit movie script would become a ridiculous stage musical.
Ingram and Garfinkle left Rubin’s home at the end of the day but missed their train back to New York and
wound up staying over. The three talked long into the night and by the next day Rubin had changed his
mind. He agreed to
work with the producers to make Ghost The Musical a reality.
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A GHOSTLY TALE
GHOST The Musical - Careers Connection
The Composing Team
It was important they find the right composer to work with Rubin. The
producers had great respect for the film script and writer’s ideas. Rubin
worked at adapting his screenplay into a book for a stage musical which
led to creating somewhere around 20 different song lyrics for the show.
Ingram and Garfinkle approached Dave Stewart to write the music.
Stewart was well known in the music industry, having produced and written
numerous hits. With Eurythmics partner Annie Lennox, he delivered
ingenious pop/rock hits that included “Here Comes the Rain
Again,” “Who’s That Girl?,” “Would I Lie to You?,” “Missionary
Man” and “Sweet Dreams (Are Made of This).” Stewart had
a proven record in the music industry with over 100 million
albums sales, more than 25 years in the business and a total of
four Best British Producer, five Best British Songwriter as well as
numerous Grammy, MTV and European awards. But he had never
written a stage musical.
When Ingram and Garfinkle asked Stewart to join the team, Stewart
suggested that Grammy Award winner and colleague Glen Ballard work
with him. Ballard, one of popular music’s most accomplished producers/
songwriters and arrangers, had worked with a number of recording
industry greats from Aretha Franklin to Van Halen and Aerosmith to
Michael Jackson.
One of Ballard’s biggest successes involved the chart-topping,
multi-platinum album Jagged Little Pill, which Ballard co-wrote and
produced for Alanis Morissette. It had sales of 33 million worldwide,
won four Grammys including Album of the Year and was named Best Album of the
Decade (1990s) by Billboard magazine.
Stewart and Ballard met with Rubin and in that meeting started to compose some music, impressing
the book writer. As the three collaborated, some characters and situations from the film were cut while
others were expanded. Stewart and Ballard wrote song after song, some of which would remain in the
musical while others would never become a part of this developing work of art. The beautiful ballad
“Without You” was one of the first numbers they wrote for the show.
The Right Director
In the theatre, directors are the primary interpreter of what
the writers, composers and lyricists have created. When
directing a new show, they have a lot of input regarding
what should happen at a given moment in the play.
Although they do not do the rewrite, directors can request
rewrites—those creating the book, music and lyrics may or
may not decide to follow their suggestions. Because it is a
highly collaborative process, it is important that directors
are connected to the essence of the piece they are working on, are objective enough to see what has to be
done, and are able to work with a wide range of people, including writers, designers, actors and more.
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The producers elected to ask Matthew Warchus to direct Ghost The Musical. He had an international
reputation as a director and, during the development of Ghost The Musical, he would win the Tony for
his direction of God of Carnage (2009) and would see his highly acclaimed Royal Shakespeare Company
production of the musical Matilda
transferred to London’s West End.
Warchus began to consider giving the
musical a rock video feel. He brought
in a range of talents with whom he had
already worked and others with whom he
would work for the first time on Ghost The
Musical. The rock video feel of the script
was translated into many short scenes
that moved from location to location,
each drawing inspiration from Stewart and
Ballard’s music. Warchus also was keenly
aware of the need to include live illusion
in the performance but not at the price of
jeopardizing the story.
A GHOSTLY TALE
Design and Illusion
Warchus asked
illusionist Paul Kieve
to be part of his
team. Kieve, who
had worked with
Warchus in the past,
had a long list of
stage credits and
was considered to
be one of the best
in his field. In the
past, Kieve had
been brought into
the process late in
the development
of the script and/or
designs. This time,
the decision was to
have him involved
right from the start since Ghost The Musical appeared to be a lot more complicated than any show he and
Warchus had done before.
Thus, Kieve was brought in the same time as Rob Howell (Set and Costumes), Hugh Vanstone (Lighting),
Jon Driscoll (Video and Projection) and Bobby Aikten (Sound). The reasoning was that the designers would
need to develop their designs around his illusions, which, in turn, needed to blend seamlessly with the
production.
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Illusion Workshops
As the script elements were developed
and illusions discussed, Warchus and Kieve
knew they needed to be selective as to which
illusions were used in the show. The illusions
had to be guaranteed to work each and every
time. Illusions, such as seeing a dying person
leaving the body while the body stays in its place,
a letter folding up in Molly’s hand or Sam going
through a solid object such as a door, had to be
totally convincing.
The producers decided to support the development
of the illusions through a series of illusion workshops where a theatre would be rented, the illusion
built with accompanying scenic elements and various personnel brought into the mix. There were
approximately two years of these workshops where illusions were tried—some worked and others did not.
Adjustments had to be made as new illusions were developed or new ways of creating the desired effect
were found. All of this cost money long before the musical ever made it to the stage.
A GHOSTLY TALE
Three Lyricists
Ghost The Musical has three lyricists associated with
it—Rubin, Stewart and Ballard. At first, Rubin wrote
the lyrics to the show. But then director Warchus
approached him, and although he acknowledged that
the lyrics Rubin had written were very good, he felt
that perhaps they should give Stewart and Ballard a
crack at creating them. Rubin agreed and, with that,
the composers started to develop lyrics for Ghost The
Musical. Thus, this part of the collaborative, creative
process resulted in the show having lyrics written by all
three men.
Rock Video Choreography
In finding the right choreographer, Warchus decided to
work with someone new. Ashley Wallen, who had never
before worked with the director and had never done
a stage musical, had made his name choreographing
commercials and rock videos. Among his credits was
the dance for the hugely popular Hugh Jackman Lipton
Ice Tea commercial. To Warchus, Wallen was the right
choice for the musical, which had a lot of video and
projections, a rock score and a chorus of dancers whose
energy often had to reflect the speed and drive of New York City.
Intro
Table of
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Wallen started working with the music on his own to develop the choreography. Then, with about
four dancers to flesh it out, he started staging the show. Even after all the creatives were involved, he
continued perfecting his work prior to the productions in Manchester, London and New York.
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A GHOSTLY TALE
The Flow of the Show
As the book, music and lyrics started to come
together it was important to orchestrate the show.
This involved a range of talents that included the
direction of Warchus and the skills of Musical
Supervisor, Arranger and Orchestrator Christopher
Nightingale. Warchus orchestrated all physical
aspects of the show and Nightingale the music,
allowing the show to progress seamlessly. As a result of their collaborative
efforts, they were able to create and highlight moments of intensity and
key emotions by weaving together and reprising various musical themes.
Nightingale’s score acted much like a film score, helping to enhance the
emotional power and story of Ghost The Musical.
Casting, Rehearsals and Rewriting
Once casting occurred for Ghost The Musical, that included
offering Richard Fleeshman the role of Sam Wheat and
Caissie Levy the role of Molly Jensen, the show went into
rehearsals as they prepared for the world premiere at
the Manchester Opera House in Manchester, England. In
November 2010, four songs from the musical were made
available online through Ghost The Musical’s Facebook Sessions.
These Facebook Sessions, which had never been done before, gave the world
an exclusive peak at the new show.
The show continued to be developed as the entire team
worked towards the Manchester premiere and
the transfer to the London’s West End.
Intro
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A GHOSTLY TALE
Manchester and London Premieres
Ghost The Musical opened in Manchester on March 28, 2011 and ran through
May 14, 2011. After receiving a very positive critical reception, the show was
transferred to the Piccadilly Theatre in London’s West End where previews
started on June 22, 2011. Ghost The Musical officially opened in London
on July 19, 2011.
Just about all of the
cast members and
all of the creative
team originally
assembled by
the producers
were involved in
the London
production.
Broadway Bound
With the show a major hit in London, Ghost The Musical made its way across the Atlantic to New York’s
Lunt-Fontanne Theatre. In was in January 2012 that the show started to establish itself in the city. In late
January, Ghost The Musical offered its Ghost Light Sessions to a group of invited guests composed of the
press and those in the industry. Like the previous Facebook Sessions in England, these offered those in
attendance a concert version of the show that was then broadcast over Facebook.
Prior to initial performances, the orchestra was added to the show. The first time this is done the actors
sing with the orchestra but they do not perform the show. This is called the sitzprobe, which is a German
word. It is very exciting as the actors, who have been rehearsing with either an accompanist or recorded
music, now get the full effect of singing with an orchestra. This is done about a week before the first public
performance.
The show previewed on March 15, 2012 with a new song in place. The creators decided to replace “Ball
of Wax,” which is sung by the Hospital Ghost, with “You Gotta Let Go Now.” This number occurs right after
Sam dies. “Ball of Wax” was a soft shoe-tap song that added a sort of dark comedy to Sam’s death. It was
replaced with “You Gotta Let Go” because the
creators thought it made more sense for that
moment in the show and helped to define
the character of the Hospital Ghost much
better. From the first time the producers met
with writer Bruce Joel Rubin through to the
Broadway production and the creation of a new
song for the Hospital Ghost, Ghost The Musical
has been working constantly to perfect the
telling of the story.
Table of
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The show opened on Broadway at the LuntFontanne Theatre on April 23, 2012 for an open
run, and it continues its run at the Piccadilly
Theatre in London. Further productions are in
the works for Australia and the Netherlands.
Intro
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The Video Connection Acting Process
Video
Richard Fleeshman, Sam and Caissie Levy, Molly: What part of the process do you enjoy the most?
Video
Richard Fleeshman, Sam and Caissie Levy, Molly: What’s the most difficult or challenging part of this process?
Video
Da’Vine Joy Randolph, Oda Mae Brown: What were some of the biggest challenges in the role?
Video
Da’Vine Joy Randolph, Oda Mae Brown: Did you learn anything from this show?
Video
Bryce Pinkham, Carl Bruner: What part of the process do you most enjoy?
Video
Bryce Pinkham, Carl Bruner: What’s the most difficult part of the process?
Video
Lance Roberts, the Hospital Ghost: What’s your biggest challenge in playing the Hospital Ghost?
Video
Lance Roberts, the Hospital Ghost: What’s your favorite part of the theatrical process?
Video
Lance Roberts, the Hospital Ghost: What’s the most difficult or challenging part of the process?
RESOURCE VIDEO LINKS
Intro
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The Video Connection Book, Music, Lyrics Process
Video
Glen Ballard & Dave Stewart, Music & Lyrics: How did you get involved in Ghost The Musical?
Video
Glen Ballard & Dave Stewart, Music & Lyrics:
What was the first meeting with writer Bruce Joel Rubin like?
Video
What song did you first write for Ghost The Musical?
Video
Glen Ballard & Dave Stewart, Music & Lyrics: Discuss what it’s like to collaborate on a musical
Video
Glen Ballard & Dave Stewart, Music & Lyrics: On keeping everyone focused
Video
On replacing the song “Ball of Wax” with “You Gotta Let Go”
Video
Bruce Joel Rubin, Book and Lyrics: How did Ghost The Musical start?
Video
Bruce Joel Rubin, Book and Lyrics:
What do you enjoy about the collaborative theatrical process?
Video
Bruce Joel Rubin, Book and Lyrics: Changes made to the Hospital Ghost and his journey
Intro
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The Video Connection Directing and Choreography
Video
Ashley Wallen, Choreographer: On working with director Matthew Warchus
Video
Ashley Wallen, Choreographer: What part of the process do you most enjoy?
Video
Ashley Wallen, Choreographer: How did you develop the choreography for Ghost The Musical?
Video
Ashley Wallen, Choreographer: What’s the most difficult part of the process?
Video
Ashley Wallen, Choreographer: What’s the process in adding a dance during tech?
Video
Matthew Warchus, Director:
Ghost is an iconic film. How did you work with writer Bruce Joel Rubin?
Video
Matthew Warchus, Director: How would you describe the collaborative nature of this musical?
Video
Matthew Warchus, Director: Discuss your relationship in working with illusionist Paul Kieve
Video
Matthew Warchus, Director: Importance of casting in directing.
Intro
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The Video Connection Designs and Illusions
Video
Rob Howell, Designer Sets & Costumes:
Describe your relationship with director Matthew Warchus
Video
Rob Howell, Designer Sets & Costumes:
Discuss the evolution of your design from concept to physical stage.
Video
Rob Howell, Designer Sets & Costumes: How do you bring a set in on budget?
Video
Paul Kieve, Illusionist
At what point did Matthew Warchus, the director, have you join the production?
Video
Paul Kieve, Illusionist: How did you approach working on the script?
Video
Paul Kieve, Illusionist: What other creatives did you collaborate with in Ghost The Musical?
Video
Paul Kieve, Illusionist: What was the biggest challenge with Ghost The Musical?
Video
Hugh Vanstone, Designer Lighting:
How did you work with the various other creatives in the show?
Video
Hugh Vanstone, Designer Lighting: What do you enjoy most about the process?
Video
Hugh Vanstone, Designer Lighting: What was your biggest challenge with Ghost The Musical?
Intro
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The Video Connection Marketing Process
Video
Kristen Rathbun, Marketing Account Supervisor, SpotCo:
How does SpotCo work with a show such as Ghost The Musical?
Video
How does your department Marketing Partnerships and Promotions work?
Video
In what way were the “Facebook Ghost Light Sessions” helpful?
Video
Kristen Rathbun, Marketing Account Supervisor, SpotCo: Do you have a typical workday?
The Video Connection Producing the Show
Video
David Garfinkle & Colin Ingram, Producers: How long did it take to develop Ghost The Musical?
Video
David Garfinkle & Colin Ingram, Producers: How do producers deal with the creative aspect?
Video
David Garfinkle & Colin Ingram, Producers: On first hearing the music and the Sitzprobe
Video
David Garfinkle & Colin Ingram, Producers:
How much are you involved in working with the director and other creatives?
Intro
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Contents
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The Video Connection Music Directing and Orchestrating
Video
David Holcenberg, Music Director & Conductor:
How do you work with a cast during the rehearsal and run of the show?
Video
David Holcenberg, Music Director & Conductor:
Do you notice much of a change from performance to performance?
Video
David Holcenberg, Music Director & Conductor: How do you work with understudies?
Video
David Holcenberg, Music Director & Conductor: How does your process work?
Video
Christopher Nightingale, Musical Supervisor, Arranger & Orchestrator:
When were you brought on board in Ghost The Musical?
Video
Christopher Nightingale, Musical Supervisor, Arranger & Orchestrator:
How important is the relationship between the director and the musical supervisor?
Intro
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ghost - All Tickets Inc.

Transcription

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