Musical Theatre Professionals Critique “Lotus”

Recently, Mike has had the good fortune of receiving input from two top names in the New York musical theatre community: director Harold Prince (“Evita”, “Phantom of the Opera”, a host of shows by Stephen Sondheim, and many more) and composer Walter E. “Skip” Kennon (“Herringbone”, “Hercules II”, “Time and Again”).

Mr. Kennon, who moderated the first year of the BMI Musical Theatre Workshop for 18 years before stepping down after the first week of this year’s class, very generously spent an entire afternoon watching the video recording of “Lotus” with Mike, offering insights into the art of musical theatre as well as suggestions for improving the work. Mr. Prince, who had accepted Mike’s request to send him the work for review in August, listened to the CD recording of the opera and sent a letter with his reactions.

Mr. Kennon and Mr. Prince found common ground in their praise for the opera: both immediately commented upon the power and inventiveness of the music. “Courage without talent would be dreary,” Mr. Prince wrote in his letter. “You have talent. The sound of your songs is interesting and unique.” Mr. Kennon also said he thought the music was excellent throughout, and further noted that several moments in the opera were so emotionally powerful that they actually jolted him physically.

However, the two men were also consistent in their criticism of the opera. Mr. Kennon focused their discussion of the opera upon some of the weaknesses he noted in the book. Certain ideas needed to be made clearer, he said, and themes of songs need to be more clearly defined. He pointed out that theatre songs tend to be set off by an action, whereas many songs in Lotus simply happen, oratorio-style. The lyrics likewise were not specific enough to the characters, and tended not to carry the characters and the story far enough along from beginning to end. Mr. Prince concurred: “The lyrics are not as interesting as the music—they wander some, and they don’t illuminate character as much as they should or advance plot as much as they could. I think maybe the rock opera part is a trap, in that it’s so hard to use lyrics appropriately in theatre pieces with that form.”

Mike’s background in pop/rock music, in which lyrics tend to be abstract and somewhat veiled in meaning, would seem to be an explanation. A likely explanation for the theatrical shortcomings of the songs is the fact that the piece was written for a concert-style performance, which was necessitated by both financial and temporal limitations. Ultimately, it comes down to the fact that this was a first effort, executed without any formal training in musical theatre or even playwriting. So, there is only one thing to do to make the Lotus worthy of blooming anew: REVISE.

Both Mr. Prince and Mr. Kennon agreed that the opera could be viable as a professionally staged work of theatre with some revisions. Mr. Prince offered to submit Lotus to the Harold Prince Musical Theatre Program at The Directors Company for further review, with or without revisions. Mike, however, following Mr. Kennon’s advice has opted to spend a significant amount of time revising the book before submitted the work to any additional producers. Producers to whom he has already sent materials will receive a revised plot synopsis as soon as it is completed.

This revision process is currently on display in the Sketchpad, where it will be continuously updated. You can see it unfold in virtual realtime.

Here is the consensus: the Lotus is not perfect, but it harbors a great deal of power and originality. The emotional aspect of the work—the music, and the visceral impact of the lyrics and storyline—has already attained a very high level. It remains only to bring the technical, dramaturgical aspects of the opera up to that same level—to reconcile the raw emotional energy of the work with the exigencies of successful drama.

It shall be done.