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“You can guess what side I’m on.Evan brings nearly four decades of expertise to the Argyle Theatre as its Artistic Director and has directed Guys and Dolls, Hunchback of Notre Dame, The Producers, The Full Monty, Miracle on 34th Street for the Argyle Theatre. It presents two very stark views of what it means to live your life happily.” It’s a bit of a complicated message about what (constitutes) success, what’s it worth to succeed. “The message … manifests itself in the process of telling the story. Whitty agreed, adding that the show feels more natural now, too. “The whole thing is tighter now,” Miranda said. album.”Īfter the shakedown run in Atlanta and a summer spent working on the show, Whitty and Miranda think “Bring It On” is finally ready. I wore out my original cast album of ‘Rent’ as well as my Notorious B.I.G. That’s what my life was like when I was a teenager.
Frankly, that’s a more accurate reflection of teens’ musical tastes than a score that’s all one style. “One of the reasons I’m most grateful to ‘Glee’ is that it presents pop and theater music side by side in the same episode, which I find totally realistic. Miranda said he sometimes wonders if “Bring It On” would be possible without the success of “Glee.”
We tried to find that sweet spot where the songs sound like something you’d hear on the radio.” But all the music has to have something in common. “There’s a pop element and a hip-hop element. Musically, the show is divided into two styles that reflect the contrasting worlds of the two high schools, Miranda said.
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Our heroine, Campbell, is not free of flaws. The rulers are overthrown, there’s skullduggery in the background. “This will sound pretentious, but I thought of the story in Shakespearean terms. Social structures are so defined and clear.”Īnd the conflict of two opposing schools is tailor-made for great comedy, Whitty said. “Everything is so incredibly important in that world. Whitty loves high school as an emotional template for stories. They all end with the national cheerleading competition. Still, I wanted to keep what works well in the films. “From the very beginning we said that we wanted this to be an original story. He liked them, but wanted his project to be distinct from the film franchise. Whitty watched the original film and all four direct-to-video sequels, “Bring It On Again” (2004), “Bring It On: All or Nothing” (2006), “Bring It On: In It to Win It” (2007) and “Bring It On: Fight to the Finish” (2009). We have fun with that stereotype, of course, but also push things into another world.” I think there is an accepted stereotype of how cheerleaders are portrayed.
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“That was the problem going in: how to make this world feel fresh. His biggest challenge, Whitty anticipated, was avoiding cliché. So many of my favorite musicals are built around that premise: ‘Cabaret,’ ‘Gypsy.’ I also have to feel (with any project) that as an audience member I would want to see that show.” “In musical theater it helps to have a performance component to the story – you know, a reason why they’re all singing and dancing. Whitty was attracted to the project because it contained some of the elements that he considers important, even crucial, to the success of a musical. “She has to find her way in completely strange circumstances,” Miranda said. When Campbell, the popular cheer captain of blue-blooded Truman High School, is reassigned to gritty Jackson High, she has to win the confidence of her new set and create a cheerleading squad out of unpromising material. “We all came in thinking it would be a lot of fun, and it was.”Īccording to the Atlanta reviewers, the team extracted comic gold from a simple story of rivalry and teen angst. “It was a joy to get in that room with these people every day,” Miranda said of the creative process. ‘Bring It On’ turns cheerleading into musical – Orange County Register Close Menu