Putting the Comedy Back in Musical Comedy
Scroll down to learn more about the new musical about Prince Harry.
Putting the Comedy Back in Musical Comedy
Scroll down to learn more about the new musical about Prince Harry.
Scroll down to learn more about the new musical about Prince Harry.
Scroll down to learn more about the new musical about Prince Harry.
People love the Royals or hate them, but nobody hasn't heard of them. 1.9 billion people watched Prince Harry and Meghan get married, which means people feel intimately connected to them, and that means built-in, worldwide interest in a musical about Harry.
And there are good reasons to write that musical. The English Royal Family is the most hilarious celebrity soap opera this side of the Kardashians but unlike silly reality stars, the Royals have real international importance. Charles III is head of state in Canada, Australia, and 54 other countries—many of which speak English and have theaters. One third of the world’s population lives in the Commonwealth. That’s one reason the Royals have international appeal that can sell a show—even the widely reviled “Diana: The Musical” made it to Netflix—and royal appeal transcends time, as “Six”demonstrates.
We happen to love the Royals, warts and all (they wouldn’t be funny without their warts), and the love comes through in “HARRY!” Irreverent yet fond, smart yet unpretentious, with just the right amount of bawdy, “HARRY! The Royal Musical Comedy” is George Bernard Shaw crossed with Mel Brooks. People smile and even chuckle aloud just hearing the title, so you can imagine how funny the—but wait, you don’t have to imagine it, if you're a legit producer I’ll let you read it. The individual scenes have the feeling of SNL comedy skits, yet they add up to a surprisingly moving portrait of human beings doing the best they can under extraordinary circumstances.
Another reason to pick this subject matter for a ripped-from-the-headlines-hot-off-the-presses play is because it’s a great opportunity to satirize the interrelationship of race, religion, power and media in a modern constitutional democracy. And it’s a great opportunity for take-no-prisoners satire, not to mention displaying the musical chops of our brilliant composer.
Most of all, after three years of sickness, suffering, and rage, what we all need now is a fun, funny, light-hearted show.
Is this it? Hmm. How could one find out?
THE CHARACTERS (cast of 10)
Harry, a prince
Meghan, an American actress
Diana, a princess
Johnny Swift, a tabloid journalist
Elizabeth, Queen of England
Mum, the Queen Mother
Charles, Prince of Wales
Camilla, Charles’s mistress
Dodi Fayed, an Egyptian playboy
William, a prince
SCENES AND SETS
The Royals occupy a shifting variety of spaces, so the way to keep the show flowing would be with a unit set, wheeling in and out a very few key pieces. The show could be done quite simply. Or it could be lavish and royal!
Jef Labes (excerpted from Wikipedia): Jef Labes is an American keyboardist and musician, best known from his work with Van Morrison and Bonnie Raitt. He has also arranged for string and woodwind instruments on numerous albums. Labes started his recording career with the legendary Boston-based Apple Pie Motherhood Band, playing piano and organ on the albums, and composing five of their tracks. The band split up and would not make another album. Labes moved to Woodstock to join Van Morrison as a live musician. At this time he had been shown the music for three songs off Morrison's "classic" album Astral Weeks in the studio, and was recording with the band Morrison had used for the album. All these musicians were replaced in the summer of 1969, leaving only Labes. The new musicians, along with Labes, were used for the recording of Morrison's third solo album Moondance. In 1975 Labes played keyboards for Bonnie Raitt on her album Home Plate and for her next studio album Sweet Forgiveness. Later Labes joined Jesse Colin Young to play on his album American Dreams. Jef Labes is still an active performer, director, teacher, arranger and composer of music, and has written numerous musicals, including “Die, Die, Diana.” https://en.wikipedia.org/wiki/Jef_Labes
Scott Sublett is the writer-director of two feature films: “Generic Thriller,” (featuring Oscar-winner Shirley Jones) and “Bye-Bye Bin Laden” (winner of Best Animated Feature at the South Beach International Animation Festival). He has won numerous awards for screenwriting. His book “Screenwriting for Neurotics” was published by University of Iowa Press, and translated into Chinese. His musical “Stealing Freedom,” about the greatest black hero of the Civil War, was given 29-hour readings in 2017 and 2018 by Amas Musical Theatre in their “Dare to be Different” festival at the ART/NY Theatre. His musical “Die, Die, Diana” was presented at the New York Fringe. The stage version of “Bye-Bye Bin Laden” was named one of the top five premieres by “The San Francisco Bay Guardian.” “The Mothers,” his verbatim theatre piece about Mormon mothers of LGBTQ kids, was presented in staged readings in New York, Salt Lake City and San Jose. A tenured professor of screenwriting and film history, he teaches at San Jose State University, remotely, from his apartment on the Upper West Side.
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Harry! The Royal Musical Comedy
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