It's Not About Love – Main Menu

What experience do you have in life and the theater?

Experience in Life

I am the lead researcher for “Humanology® – the science of understanding human nature. If you click on the “Credits” link (in the website banner) and then “Humanology.com,” you will discover the missing theory in Psychology that explains the motivation behind human decisions and behavior.

As such, I have written several books on human nature and its many applications including relationships, business, and society and government.

Note: My books are on Amazon.com. Search under “Don Magyar.”

I am also the managing director of The Foundation to Empower Marriage, a private non-profit foundation that works to inform citizens that the purpose of marriage is to counteract our natural inclination to hook up and break up.

Marriage, if approached and treated as intended, serves as social glue. Personal commitments, family obligations, public pressure, financial entanglements and government incentives are meant to compel parents to stay together long enough to raise their children until they become adults.

Experience in the Theater

I am a songwriter. If you follow “MagyarMusic.com” in the “Credits” link, you can peruse my over 100 songs, works, commercials and jingles. I sing on my demos (including some of the female parts) so I can update them as needed.

Note: Happily, we are at the point where we are auditioning talented male and female singers to be featured on the “It's Not About Love” website.

Although I have no substantive experience in the theater or the theatrical industry, my songwriting skills and extensive work in understanding emotions and human motivation were central to the shaping of “It's Not About Love.”

Why do you have a Disclaimer and what is it?  

Why do you have a Disclaimer and what is it?

Much of this website challenges long-held beliefs. Unfortunately, the result can be animosity – (If you don't like the message, shoot the messenger.)

Note: The truth is that we become upset only when a new idea rings true.

The following disclaimer should help minimize ill feelings by encouraging readers to entertain new ideas with an open mind.

Disclaimer

1. Unless otherwise stated, answers to questions in this section are not opinions. They are conclusions resulting from research and analysis.

2. Although you may disagree with me, I trust you will investigate the matter to where you are confident of your dissenting opinion.

3. Finally, read no further if you do not agree with the following axioms:

Axioms with regard to Finding Truth

1. The world is full of false information that has been repeated mindlessly until the textbooks portray the falsehoods as facts.

2. Truth should trump tradition and consensus.

3. Political correctness is the enemy of truth.

4. Advancements in science, medicine, art, and technology are not the children of a closed mind and steadfast beliefs.

5. Progress occurs only when we become willing to trade what we think we know for a better idea.

6. Words “paint” images in the mind. To paint images accurately, the words we use must each have a unique meaning.

   Note: We will reference Axiom #6 throughout the FAQs.

  Why go on record to such an extent?  

Why go on record to such an extent?

If you read through the FAQs, you will discover I make some controversial assertions and suggestions. The question is “Why risk creating animus?”

My motivation for going into such detail is not vanity or an inability to keep my thoughts on sensitive matters to myself. On the contrary, pragmatism, opportunity and obligation compelled me to write the featured essays.

Interviews with the press can be problematic

I believe “It's Not About Love” will be successful. At some point, the press will report on it. Reporters will ask questions. Some will have objections.

Beyond the time commitment of doing several interviews per day, being misquoted is always a danger. We cannot stop unscrupulous reporters from perpetrating a contrary agenda. However, we can inform honest members of the press who want to report accurately.

The FAQs section is exhaustive. Consequently, we cannot be misquoted or taken out of context without some effort. Moreover, reporters have much information with which to work, enabling them to write multiple articles on a variety of related subjects without making a phone call.

Untapped potential

Tens of millions of people don't patronize the theater because of negative stereotypes. These stereotypes can and should be corrected for everyone's benefit. With a concerted effort, we can harvest billions of additional dollars for the theater industry. I outline the problem and solution.

Moral obligation

I am the ideal candidate to lead the way. I don't “love” the theater per se, I have discovered the one motivation behind all human decisions and behavior, and I have a proven ability to dissect problems and formulate workable solutions (as per my books and the Humanology®, Empower Marriage, Spring Gravity®, Patriot Party® and Patriot Revolution websites).

  Is your “Musical Play” inclusive?  

Is your “Musical Play” inclusive?

Ethnic Diversity

“It's Not About Love” can be produced featuring any ethnicity. In fact, by design, it is flexible and meant to reflect the community in which it appears.

However, “It's Not About Love” features an important message that must be shared with patrons, the media, America and the world. Beyond providing 2½ hours of quality entertainment, the goal of “It's Not About Love” is to reveal the secret to success in romance and marriage.

The featured knowledge (if applied) promises to help millions of newlyweds, parents and children, reducing significantly America's social and consequential financial problems.

Note: We are not being hyperbolic. Read through the section “Background” to learn how reinstalling the two-parent family is necessary to save our civilization.

The importance of this message necessitates we exclude all others. A one-goal approach is especially appropriate because no other theatrical work provides this information. (Will you include our message in your work?)

Conclusion

Local producers and directors may cast “It's Not About Love” as they see fit in order to reflect their community. However, this web production makes no attempt to accommodate social and political norms and trends, neither does it cater to special interest groups nor accommodate their demands and slanderous rantings. We are focused only on the one foundational message, and we will not be intimidated and stray from our pointed and purposeful mission.

LBGTQ Representation

The same argument for why ethnic diversity is not center stage applies to the issues of gender identity and sexual orientation.

Although this web production features only the key message of “It's Not About Love,” the characters may be cast locally to represent all or their particular slice of America. However, in the process, the central key message must not be diluted or obscured.

Note: Those who believe our social message should be subordinate to their cause or agenda are selfishly motivated and indifferent to the fate of others and America.

  What is the target market of “It's Not About Love”?  

What is the target market of “It's Not About Love”?

The target market of “It's Not About Love” is vast. It includes high school juniors and seniors, their teachers and administrative staff, their immediate and extended families, friends and neighbors, and everyone they know.

Stated another way, the target market of “It's Not About Love” is children in their late teens, men and women who are married or thinking about getting married, men and women who have children or they are thinking about having children, and men and women who are having trouble in their relationship and are trying to work it out, or they are thinking about divorce.

Stated yet another way, the target market of “It's Not About Love” is everyone 16 years of age and older.

Theater Enthusiasts

“It's Not About Love” is not your average theatrical production. The combination of a heartfelt story, profound message and radio-quality music-concert-like songs promises a unique experience.

Disheartened Patrons of “Music Concerts”

“Music Concerts” are the most popular form of live entertainment. Millions of people go because they enjoy listening to structured and melodically rich musical compositions of lyrics set to melodies (called “songs”).

Still, many would-be patrons do not attend “Music Concerts” because of a glaring problem. Patrons are allowed (often encouraged) to clap and sing to the music. Many people dance, and some even stand on their chairs.

Note: Civility makes the “Musical Play” an attractive alternative to the typical rowdy and unruly “Music Concert.”

“It's Not About Love” is different from most theatrical works in that the lead characters are a music act that sing solos and duets about love and romance, including longing, heartbreak and renewal. Patrons effectively attend a “Music Concert” without the incivility that normally takes place.

  Will “It's Not About Love” attract a new audience?  

Will “It's Not About Love” attract a new audience?

Over 250 million Americans do not attend the theater. Although it is tempting to categorize non-theatergoers as unsophisticated and lacking appreciation for the finer arts, there are two other possible explanations.

The first reason is they do not like the presentation intrinsic to some forms of theater. For example, it is not natural for characters to sing dialogue or recite it in some manner.

Note: A regular person would not sing “Hello. How are you. Make yourself at home.” Similarly, reciting or rhyming dialogue is unnatural and interpreted by many people as a rejection of their cherished culture and proven heritage.

Some people become uneasy that the cast breaks out in gratuitous dance. Others cringe when over-the-top characters begin frolicking about the stage belting out forgettable “show tunes.”

Note: The term “show tunes” is set off in quotes to indicate it is a specific form of musical composition comprised of lyrics and melodies (to be defined later).

The second reason is most theatrical works feature themes and social messages in opposition to the liking of non-theatergoers. Specifically, non-theatergoers tend to exemplify a traditional and conservative lifestyle.

Note: We are not judging or commenting on anyone's beliefs or values. We are merely identifying a different audience and recognizing an untapped market.

Analysis

There are several recreational alternatives to musical theater. The most popular is the “music concert” in which singers and musicians perform “songs” (as opposed to “show tunes”). Tickets are priced comparably to a musical theater show. Like it or not, most people prefer “music concerts” over musical theater, and they do so for specific reasons. “It's Not About Love” is essentially a “music concert” wrapped in a heartfelt story told by way of a theatrical performance.

  Will “It's Not About Love” attract a new audience? (Part 2)  

Will “It's Not About Love” attract a new audience? (Part 2)

New Audience – Patriots

Patriots revere the founders and the Constitution, respect the police and military, advocate self-reliance, fiscal responsibility and a small and efficient government, choose sovereignty over global governance, understand, value and appreciate our precious freedoms and the American Dream, cherish our culture and hope to preserve it, take pride in America's exceptionalism, leadership role and proven recipe for success, advocate the two-parent family, and embrace the idea America was founded under and is protected and guided by a just, peaceable and tolerant God.

Note: Belief in God with specific characteristics is a theology, not religion. Theology answers the question, “Who is God and what does God expect of us?” In contrast, religion is a set of rules and practices that instruct followers how to worship. Like it or not, every individual and nation is founded on a theology, even if that theology is “Undefined”… or… “There is no God.”

Correcting a myth

Yes, Patriots embrace their male or female gender and espouse traditional social mores. However, they are tolerant of alternative lifestyles and beliefs.

Note: Racists, homophobes, xenophobes and misogynists are not Patriots.

Imagine the additional revenue that would be generated if this clearly identifiable, uniquely positioned, untapped and ready-to-be-harvested market could be realized. The success of Disney® and the Hallmark® Movie Channel are indications of the potential windfall before us.

Note: Patriots (as defined) are a new audience and a secondary target market.

  How will “It's Not About Love” be promoted?  

How will “It's Not About Love” be promoted?

Theater Enthusiasts

Theater has a core following, and enthusiasts attend the latest shows every year. As such, we will enjoy some success initially as the regulars explore the various theatrical works appearing in their greater area.

However, for a show to be successful for more than a few weeks, it must attract patrons who do not frequent the theater regularly. This can happen in any of three ways.

Paid Advertisement

Paid ads are expensive and have a limited return on investment. It is the last resort for shows that are lacking in quality and have little press support.

The Media – Free Publicity

If the media loves a show, the favorable reviews will draw in patrons for as long as the favorable press continues. Although one would hope quality and value are what matter most, history demonstrates a show must favor the political left to receive the fair reviews and recognition it deserves.

Note: We hope our analysis is faulty and we are proven wrong. Meanwhile, we do not expect the legacy media to give us glowing reviews.

Word-of-mouth

If a theatrical production empowers people or changes the way they think or feel in a profound way, patrons will tell everyone they know about it.

They will also tell everyone they know if a show makes them laugh and cry.

Note: Feedback from people who have experienced “It's Not About Love” via the website is encouraging.

  Why does your script layout vary from the industry?  

Why does your script layout vary from the industry?

Scripts of theatrical works are expected to adhere to the industry standard established years ago from being prepared on manual typewriters. This means black ink on white paper using one font (Courier 12pt). Moreover, the directions are to be set off in small margins (only 2.75" wide).

Seasoned actors and directors are most comfortable with the conventional format because it is what they know. However, new actors and directors are taking advantage of modern technology. With the proliferation of affordable hand-held devices, more and more productions and materials are going electronic. Enter multiple fonts and colors on high definition displays.

Using computers and word processing software, scripts today are being groomed for easy discernment and assimilation while being packed with helpful information.

Note: I differentiate directions from dialogue by setting them off in blue. I use smaller type with wider margins to enble more information to be packed in a smaller space without interference.

Although theatrical scripts of the past included some directions in and around the dialogue, much was left to the imagination because the author didn't want to (1) overpower the dialogue and (2) put off the director.

Note: The debate over providing greater detail goes both ways. Those who believe “more is better” claim the author should paint vivid pictures in which to place the characters. On the flip side, a blank canvas encourages creativity that may lead to inspired interpretations.

My position is this: The directions are there if you want them. If you don't want them, don't read them. If you read them, you only need to do so once.

  Are there too many songs?  

Are there too many songs?

“It's Not About Love” is comprised of dialogue and 28 original “songs.” Refrains of a few key “songs” are set between scenes for purposes of continuity and changing moods for effect.

The following arguments make the case that 28 “songs” is not too many.

Argument #1:

In “Operas,” characters sing throughout the performance. In “It's Not About Love,” characters sing less than 60% of the time.

Argument #2:

“It's Not About Love” is 2½ hours long with intermissions. This length is considered to be just about right for a show today.

Argument #3:

“It's Not About Love” uses “songs” as “Plays” use soliloquies, monologues, and asides. The “songs” do not advance the plot. They merely share the thoughts, feelings and desires of the characters with the audience. As such, directors may drop one or more “songs” without affecting the story.

Note: The only thing lost would be some emotional connection (per “song”).

Argument #4:

In a typical “Music Concert,” the best acts perform for over 2 hours because they have many good “songs” (and the audience wants to hear all of them). In short, if you have good “songs,” you should play them all.

Argument #5:

Good “songs” are worth gold in musical theater. Playwrights would add more if they had them because each additional good “song” would increase the success of their theatrical work exponentially.

The following chart illustrates the number of good “songs” and the likely success of a theatrical work. (Note: “GS” = Good Song)

  Why a club café?  

Why a club café?

A club café serves three important functions.

First, it provides a stage (both figuratively and literally) for performing several “songs,” making them feel organic rather than contrived.

Note: The lead male character is a songwriter and he aspires to be successful in the music business. His club café is a logical extension of his ambition.

Second, on a physical stage, the characters are able to introduce and explain the meaning of some “songs” before performing them.

Note: This is possible only with a physical stage and a nightclub environment.

Third, a club café provides a fun and believable place for the characters to meet and interact regularly.

  Why is the club café specific in format?  

Why is the club café specific in format?

According to the lead male character, “Hats” is not a bar. It is:

“An open mike, piano room, comedy house, club café serving fine wine and expertly crafted porters, lagers, stouts and ales, with a light menu of classic American and exquisite Italian cuisine – appetizers a specialty.”

The purpose of choosing this business model is to send three empowering messages to adolescents and young adults.

First, if you choose to consume beverages containing alcohol, think about beer and wine. They have an alcohol content of 3-13% as opposed to 40% that is typical of most spirits such as scotch, gin, rum and vodka.

Note: Alcohol is and will likely continue to be a mainstay of modern society. Opposing the use of alcohol outright would be little different from attempting to stop high tide. It is better to plan for it and minimize the damage it may cause rather than build a wall to stop it. (A house on stilts is an example.)

Second, if you choose to consume beverages containing alcohol, do so in moderation. The club café serves beer and wine with food. This is one reason why it closes at 10pm. The purpose of the club café is not to sit and drink alcoholic beverages.

Third, 10pm is enough time to have fun where alcoholic beverages are served. Statistics demonstrate nothing good happens after 10pm. If in doubt, ask EMTs and nurses who work in trauma centers.

  What is wrong with using the label “Musical” loosely?  

What is wrong with using the label “Musical” loosely?

The Tony Awards uses the word “Musical” to represent any theatrical work with dialogue and music. It is our contention doing so causes confusion that stifles the musical theater industry, costing it billions of dollars annually.

The problem is the word “Musical” has two meanings. The general label “Musical” is also the label of a specific form of musical theater. This is a violation of Axiom #6 regarding clarity and understanding (finding truth).

Axiom #6: Words “paint” images in the mind. To paint images accurately, the words we use must each have a unique meaning.

“Musicals” are not for everyone

Casting all musical theater as “Musicals” is problematic because, justified or not, millions of people do not care for musical productions in which the cast suddenly breaks into gratuitous dance, and when over-the-top characters frolic about the stage belting out forgettable “show tunes.”

Personal Note: Most men I know run for cover at the mere mention of the word “Musical.” If not for wives and girlfriends, we wouldn't go if you bought the tickets, promised dinner and had a limo pick us up.

One form of musical theater has universal appeal

Happily, one form of musical theater does not feature these elements. As such, it is enjoyed by everyone including those who do not normally frequent the theater.

Unfortunately, using the label “Musical” loosely obscures the one form of musical theater that has universal appeal, effectively chasing would-be patrons away. We are talking about billions of lost dollars that could be flowing into the theater industry in America and throughout the world.

  How can we expand the theater industry?  

How can we expand the theater industry?

(1) Lose the arrogance

It is easy to dismiss the millions of people who do not appreciate “Musicals” as being unsophisticated and lacking taste for the finer arts. This mistake is rooted in arrogance and nurtured from living within a closed system.

Theater is a relatively small community. The perception that theater is “home base” for gay men comes from observation and admission. The problem is not that LGBTQ representation is heavily weighted. The problem is it sets the standards for all of theater.

(2) Hire non-theatrical business managers

Most people in theatrical management love the theater or have an affinity to it in some way. Unfortunately, “thinking with your heart” is always costly.

Note: Successful music acts hire business managers who are not musicians or engineers precisely for their tendency to think like the buying public.

(3) Redefine the norm

If we want to reach mainstream and middle America and reap the billions of unrealized dollars it represents, the “norm” must be redefined for them. Happily, a form of musical theater that meets their standards already exists.

Note: The form of musical theater they appreciate is not the modern “Musical.”

Unfortunately, using the label “Musical” to represent all musical theater obscures the one form of musical theater that is geared for everyone other than theater enthusiasts. What we need is a labeling scheme that identifies clearly and differentiates accurately the various forms of theatrical works. If adopted, it will distinguish the one form of theater that appeals to non-theatergoers, redefining musical theater for them.

  How can we expand the theater industry? (Part 2)  

How can we expand the theater industry? (Part 2)

(4) Use proper labeling

Many producers and investors mislabel their theatrical works to make them more attractive to prospective reviewers and patrons. Mislabeling is not illegal but it confuses the public. For example, rather than use the label “Opera,” producers might call their production a “Sung-through Musical.”

Note: Similarly, if dogs fell out of favor with the public, the same people would refer to Rover as a “cat that barks.”

(5) Proper labeling begins with the Tony Awards

The Antoinette Perry Award for Excellence in Theater (the Tony Award), has recognized achievement in Broadway theater since 1947. To its credit, it has occasionally modified its categories in a quest for fairness while striving for inclusion and universality.

Presently, it adheres to a 2-category format – “Plays” and “Musicals.” Because most theatrical works today are hybrids from combining elements from multiple forms of theater, one can argue they continue their 2-category approach. However, the proper labels for the categories should be “Plays” and (the inclusive) “Musical Theater.”

(6) Adopt empowering nomenclature

Adopting accurate terminology would result in clarity and understanding that will lead ultimately to the expansion of the musical theater industry, increased revenue for participants, and greater profitability for producers.

Note: For these reasons, my recommendations should be entertained.

Confusion results from using the label “Musical” to represent all forms of theater featuring dialogue, lyrics and melodies (Axiom #6). Although one can argue for a nomenclature other than what I propose, the label “Musical” should no longer be used loosely.

  Aren't all lyric and melody compositions “songs”?  

Aren't all lyric and melody compositions “songs”?

Musical compositions in which lyrics are put to melodies come in forms other than “songs” to include ditties, jingles, arias, recitative, rap and “show tunes.” These musical genres are not created equal. They have unique characteristics and serve different functions. Specifically…

Ditty – A short lyric and melody to express an immediate thought or feeling.

Jingle – A short lyric and melody used to advertise something.

Aria – A long elaborate lyric and melody composition for a solo voice.

Recitative – Dialogue delivered in an unnatural pitch or tone.

Rap – Recitative dialogue replete with rhymes atop a background melody.

Note: Absent from the featured list above are “show tunes” and “songs.” Being the focus of this analysis, we will define and contrast them next. What we can say here is they are as different in their function and characteristics as the various forms of lyric and melody compositions cited above.

Conclusion

Not all lyric with melody compositions are “songs.” According to Axiom #6, confusion and uncertainty will result if we do not distinguish between the various forms of lyric and melody compositions.

Axiom #6: Words “paint” images in the mind. To paint images accurately, the words we use must each have a unique meaning.

  What is the difference between “show tunes” and “songs”?  

The difference between “show tunes” and “songs”

Show Tunes

Songs

  What is a “Play”?  

What is a “Play”?

A “Play” is a theatrical work in which the story is told with spoken dialogue and musical compositions comprised of lyrics and melodies do not coexist.

Note: If musical compositions comprised of lyrics and melodies coexist, the “Play” becomes another form of theater.

In a “Play,” if characters reveal their thoughts, feelings and desires to the audience, they do so by way of soliloquy, monologue or aside.

Note: The soliloquy, monologue and aside are optional tactics. If employed, they add intimacy by forging an emotional connection with the audience.

Typically, the moment a character intends to share his or her thoughts, feelings and desires with the audience, the light changes and the character takes a step forward away from the action.

Note: Now that we have defined “Play,” we must honor the definition and not use the label “Play” to represent other forms of theater (Axiom #6).

Axiom #6: Words “paint” images in the mind. To paint images accurately, the words we use must each have a unique meaning.

  What is a “Musical Play”?  

What is a “Musical Play”?

Review: A “Play” is a theatrical work in which the story is told with spoken dialogue and no lyric and melody compositions exist. The thoughts, feelings and desires of the characters are revealed by soliloquy, monologue or aside.

There are other ways to reveal the thoughts, feelings and desires of the characters. One way is through musical compositions comprised of lyrics and melodies called “songs.”

Note: The word “songs” is set off in quotes to distinguish it from other forms of lyric and melody compositions (specifically, “show tunes”).

If one or two “songs” are added to a “Play,” it becomes a “Play with Songs.” Adding several songs turns a “Play with Songs” into a “Musical Play.”

Definition

A “Musical Play” is a theatrical work that tells the story with dialogue and reveals the thoughts, feelings and desires of the characters with “songs.”

Note: “Musical Plays” typically feature “songs” as opposed to other forms of lyric and melody compositions (specifically, “show tunes”).

Analysis

If dialogue is spoken and there are no lyric and melody compositions, the theatrical work is a “Play.” If there are “songs” in the “Play,” the theatrical work is either a “Play with Music” or a “Musical Play,” depending on the weight of the “songs” to dialogue.

Note: We must honor the definitions we have established to this point. In short, we must not use the labels “Play,” “Play with Music” and “Musical Play” to represent other forms of theater (Axiom #6).

Axiom #6: Words “paint” images in the mind. To paint images accurately, the words we use must each have a unique meaning.

  What is a “Musical”?  

What is a “Musical”?

Review: A “Play” tells a story by way of spoken dialogue and has no lyric and melody compositions. A “Play with Music” is a “Play” with one to a few “songs.” In a “Musical Play,” the “songs” are a substantial component of the work.

We need a label for the form of musical theater that includes the elements of dance, choreography and fanfare.

Years ago, these theatrical works featured ostentatious dance numbers, chorus lines with women making precision moves, elaborate headdresses with feathers, and florid attire laced with glitter and rhinestones. Today, the expensive grand productions have been scaled down. Still, choreography and fanfare are paramount. We can expect gratuitous dancing and over-the-top characters belting out “show tunes” as they move about the stage.

Note: Most lyric and melody compositions featured in “Musicals” are “show tunes.” One or two finely-crafted “songs” are typically included for their strong melodies and universal appeal to boost the popularity of a show.

Definition

A “Musical” is a theatrical work that tells a story by way of spoken dialogue and reveals the thoughts, feelings and desires of the characters with dance, choreography, fanfare and “show tunes.”

Analysis

A “Musical” is a specific form of musical theater. These theatrical works are showy by nature and, except for one or two featured “songs,” most lyric and melody compositions are “show tunes.”

Note: Having defined “Musical,” we must adhere to the definition and not allow the label “Musical” to represent another form of musical theater (Axiom #6).

Axiom #6: Words “paint” images in the mind. To paint images accurately, the words we use must each have a unique meaning.

  What is an “Opera”?  

What is an “Opera”?

Review: In a “Play,” “Play with Music,” a “Musical Play” and a “Musical,” the story is told by way of spoken dialogue.

An “Opera” is unique in that the dialogue is put to a melody or recited unnaturally. If we take a “Play,” a “Play with Music,” a “Musical Play” or a “Musical” and we sing or recite the dialogue in some unnatural manner, we get an “Opera.”

Definition

An “Opera” is a theatrical work that tells a story by way of dialogue that is sung or recited unnaturally (recitative including rap). The unnatural nature in which dialogue is delivered is an “Opera's” distinguishing characteristic.

Note: In an “Opera,” the majority of dialogue is sung or recited unnaturally. A few normally spoken words does not change an “Opera” to another form.

Analysis

Contrary to the way they are advertised, the theatrical works “Evita,” “Hamilton,” and “Les Misérables” are “Operas” because the majority of dialogue is sung or spoken unnaturally.

Some people claim the elements of dance, choreography and fanfare transform “Operas” into another form of musical theater. However, this argument muddies the water. Besides confusing would-be patrons, it necessitates other terms. A simpler way to view musical theater is this:

The various forms of theater tell a story differently through the deployment of specific elements. Innovative authors and directors “borrow” elements for effect. However, the relative weight of the elements should define the work so as to inform would-be patrons.

Note: Having defined “Opera,” we must adhere to the definition and not allow the label “Opera” to represent another form of musical theater (Axiom #6).

Axiom #6: Words “paint” images in the mind. To paint images accurately, the words we use must each have a unique meaning.

  Can you summarize the forms of musical theater?  

Can you summarize the forms of musical theater?

Now that we have defined the basic forms of musical theater, we are able to assign proper labels to the variations (subcategories) that exist.

1. Play with Music – A “Play” with just a few incidental songs.

2. Musical Play – A “Play” with a substantial number of songs that features a full range of emotions. (White Christmas, The Wizard of Oz, It's Not About Love)

3. Musical Comedy – A “Play” with songs that is primarily light and fun. (Anything Goes)

4. Opera – A theatrical production in which the dialogue is sung or recited unnaturally. (Cats, Evita, Les Misérables, The Phantom of the Opera, Carmen, Madama Butterfly)

5. Rock Opera – An “Opera” featuring contemporary music. (Tommy – The Who)

6. Musical – A theatrical production in which choreography and fanfare have more weight than storytelling and songwriting. (Top Hat)

7. Book Musical – A “Musical” in which the story is substantive. (Singing in the Rain, Oklahoma, A Chorus Line)

8. Revue Musical – Series of skits and sketches with a common theme but no real story.

9. Jukebox Musical or Jukebox Play – Features the songs of one artist. It is a “Jukebox Play” if the story is substantive and without fanfare. (The Jersey Boys, Momma Mia!)

10. Rock Musical or Rock Play – Depicts the life of an artist with filler songs by other composers. It is a “Rock Play” if the story is substantive and without fanfare. (The Buddy Holly Story)

  What makes “It's Not About Love” a “Musical Play”?  

What makes “It's Not About Love” a “Musical Play”?

The elements of song, dance, music, lyric, dialogue and story exist in most productions. As such, technically, most theatrical productions today are hybrids. However, for purposes of clarity and consumer consumption, the relative weight of these elements should determine the proper (advertised) label of a specific theatrical work. As we have established…

A “Musical Play” tells the story through spoken dialogue and reveals the thoughts, feelings and desires of the characters through “songs.”

By definition, “It's Not About Love” is a “Musical Play.” To be sure, we can test our assessment through a process of elimination.

“It's Not About Love” is a “Musical Play” because:

1. It includes lyric and melody compositions (not a “Play”).

2. The number of songs are substantial (not a “Play with Songs”).

3. The dialogue is spoken naturally (not an “Opera”).

4. It is void of gratuitous dancing and “show tunes” (not a “Musical”).

Deductions

• Eliminating all the “songs” from “It's Not About Love” would transform it into a “Play.”

  Note: Because the “songs” reveal just the thoughts, feelings and desires of the characters, the story would be complete without the “songs.” Only the emotional connection with the audience would be lost.

• Eliminating most (but not all) of its “songs” would transform “It's Not About Love” into a “Play with Songs.”

  Can you point to references and further reading?  

Can you point to references and further reading?

You can discern several things from the links below (in blue).

1. The authors disagree among themselves.

2. Familiar terms have become convoluted (personal opinion is the rule).

3. The nomenclature I have deduced works without contradiction.

4. I have used one of the traditional meanings assigned to each label.

5. I have not invented a new label.

6. I have merely cleaned up the meaning of the existing labels.

Note: I have discerned which of the multiple meanings for each label is best while insuring each label represents just one form of musical theater.

1. History of Musical Theater

2. Types of Musical Theater

3. Play vs. Musical

4. Operas vs Sung-through Musicals

  The End

Does experience equate to expertise?

Experience versus Expertise

Most people equate experience with expertise. Although experience can be instructive, experience does not necessarily equate to expertise. The following hypothetical illustrates the point.

The Bible says Moses wandered in the desert for 40 years. If you were going on a journey, who would you trust to lead the way: Moses or a Boy Scout with a map?

The Point: Skills, knowledge and the right plan can outperform experience.

Does being Tony-nominated equate to expertise?

Tony-nominated versus Expertise

It is human nature to think those who have been nominated for a Tony Award have expertise. Although congratulations are in order for those singled out, a change in perspective is revealing.

Note: According to the Tony Awards website, 26 nominations were awarded in 2016 to authors of “Plays” and “Musicals.” The 26 nominations were for the entire work or one of its components, namely the book or lyrics and music.

Over the last 10 years, approximately 260 Tony nominations have been awarded to authors. If being nominated equates to expertise, then the industry is teaming with experts. Yet their opinions on what is good are as varied as their works, spanning the entire spectrum of possibilities. Think about it. The concept of “expertise” is meaningless without consensus.

Moreover, the Tony Awards is a zero-sum game. Nominations are awarded every year based on the present competition as opposed to meeting some fixed published standard. The following analogy illustrates the ramifications:

This year, one television show will win the Emmy for “Best Sitcom,” yet it would not even be nominated if were up against “Seinfeld”, “Raymond”, “Frasier”, “Wings” and “Cheers.”

The Point: The term “Tony-nominated” is used to infer expertise and therefore an excellent product. However, neither expertise nor excellence may exist.

Does success equate to quality?

Success versus Quality

Theater has a core following and enthusiasts attend the latest shows. As such, every year, one theatrical work will be hugely successful, a few shows will be more successful than the others, and most will fade away.

Note: Sadly, this is the plight of most industries including publishing (books and magazines), broadcasting (radio and television), toys, cereals, and so on.

Naturally, the most successful work will receive the awards and the accolades. However, only time will tell how well it will do long term as it competes against new theatrical works and productions year after year.

Although success infers quality, productions that gain the support of the media will enjoy at least some success even it quality is lacking.

Left-leaning subjects and issues

Although suspected and claimed for decades, the 2016 presidential election demonstrated conclusively that the media and the several entertainment industries are decidedly left-leaning. As a result, we can say with confidence, theatrical works that favor leftist positions will receive favorable press, free promotion, excessive accolades, and industry awards.

In specific, a theatrical work that exalts women over heterosexual men, validates gender diversification, features alternative family structures, rewrites history to elevate minority groups, denigrates America or its founders, and challenges traditional values will be embraced by the industry and press. As a result, works embodying such themes are sure to be successful, drawing liberals and progressives beyond the theater crowd.

The Point: Success does not necessarily equate to quality.