Bennett has kept out of the public eye, except for an occasional appearance at an opening or a party. This isn't something I advocate for every play, but I think it's more exciting for a musical.'' I consider 'Amadeus' hot theater because there is a relationship between Salieri and the audience. ''That makes for what I call hot theater. In 'Dream Girls,' the actors perform in nightclubs, on television, in concert. In 'Chorus Line,' the audience isn't there, but the actors play to a director who is their audience. By 'cool,' I mean that the show takes place, and the actors pretend the audience isn't there. ''This is very hard to explain,'' he said.
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Bennett made yet another comparison between ''Dream Girls'' and ''A Chorus Line.'' He called them both ''hot'' musicals, a term that has to do with their relationship with the audience. It is easier to make someone dance if that character is a dancer than, say, a dentist.'' ''Also, you are likely to have a lot more singing and dancing in a show that is about show people. I went to Paris and spent three months watching Coco Chanel work and learned as much as I could about fashion, but it was a whole foreign world for me. I'm more comfortable doing 'Dream Girls' than I was doing 'Coco,' for instance. I know more about show business than I know about anything. Bennett said it felt good to be working again on a musical rooted in show business. It's been lots of years, lots of shows.'' I did my first Broadway show when I was 24 or 25.
#Who wrote the chorus line music how to#
I mean, one thing I know how to do is a show. He put his feet on the marble coffee table and thought for a minute. ''If it were going badly, I wouldn't let anybody see the show in rehearsal.'' 'I'm Generally Calm' Bennett remarked after a rehearsal as he sank into a velours chair in his huge, plushly carpeted office. Bennett said to his collaborators, ''We have a Broadway show.'' Bennett's confidantes from the theater community - in three more workshops. Over the next several months, ''Dream Girls'' was rewritten extensively and shown to small, invited audiences of trusted friends - mostly Mr. From then on, ''Dream Girls'' became known as ''a Michael Bennett musical'': He was in charge, even though his official billing is director and cochoreographer with Michael Peters. He was interested enough to test ''Dream Girls'' in a no-frills workshop production with eight actors in his studio. Eyen and Henry Krieger, who wrote the music -he once wrote for television's ''Captain Kangaroo'' and then moved to pop -showed their material to Mr. Eyen is best known as the author of ''The Dirtiest Show in Town'' and ''Women Behind Bars.'' In July 1981, Mr. Bennett himself, as ''A Chorus Line'' did, but with Tom Eyen, who wrote the book and lyrics. He describes ''Dream Girls'' as the story of ''a fictitious group that could have rivaled the Supremes.'' That may sound like the story of the Supremes, but Mr. The story, which takes place from 1962 to 1972, centers on three young black women who come from nowhere and rise t o the top in po p music. Bennett is returning to the source material that served him so well with ''A Chorus Line'': The setting is show business. ''Ballroom'' had been eagerly awaited but was greeted with little enthusiasm and closed after a brief, disappointing run. Bennett's first new show since ''A Chorus Line,'' which opened in 1975 and received ecstatic reviews as well as the Pulitzer Prize. Remarkably so, for ''Dream Girls'' will be his first new musical since ''Ballroom'' three years ago. It's inevitable.īut for the moment, as he rehearses in the spacious studio he owns at Broadway and 19th Street, Mr. 19 and open on Broadway at the Imperial Theater the night of Dec. His new musical is called ''Dream Girls.'' It will begin previews in Boston on Oct. Bennett was in the midst of doing what he loves most in the world - working on a lavish new Broadway musical - and he sensed he was onto something terrific. Then the elfin grin he often flashes when he is pleased with himself spread across his face. Bennett's shoulders and knees began to shake in time with the music. In a flash, the room erupted with har d-driving rock-and-roll music and a swirl of lean, young black bodies dancing across the floor.
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Bennett took a longpuff on his cigarette and nodded to the three -piece band in the corner. Thirty-two performers stood along the walls of the brigh tly lit rehearsal hall, their eyes fixed on Michael Bennett. FOR a brittle moment, all was still and sil ent.