When we were adapting it, we kept trying to make it one movie, but we kept finding we were having to cut things that we didn’t want to cut. “We’re hoping to begin shooting Wicked before the end of the year, but there’s a lot of preparation to be done. The movie version of the musical, starring Cynthia Erivo as Elphaba and Ariana Grande as Glinda-roles that were originated on Broadway by Menzel and Kristin Chenoweth (and, before that, on screen by Margaret Hamilton and Billie Burke in The Wizard of Oz )-will be released in installments a year apart, one at Christmas of 2024, the other at Christmas of 2025. “After that, my focus will be on getting things prepared for the Wicked movie-or, more accurately, the Wicked movies.” Indeed, something Wicked this way is coming-in two parts. ) He’s also at work on a musical based on the documentary The Queen of Versailles, about the Florida woman who built the biggest private home in America. For English-speaking consumption, it’s Making Magic. I’m going to London at the end of the month to work with Trevor on it.” (Don’t worry. “I did it in Vienna, in German, in 2016, with Sir Trevor Nunn directing. Schikaneder is the show that now has his attention. In fact, if I remember correctly, that list includes Gypsy and Follies and West Side Story. Tonight, it will give its 7,094 th performance. Long after Avenue Q closed, Wicked is still chug-a-lugging at the Gershwin on Broadway. “Can you believe that 20 years later that’s still controversial?” Schwartz says in semi-disbelief. In 2004, Wicked went three for 10 at the Tonys, winning for costumes, scenic design, and best actress ( Idina Menzel), but losing Best Musical to Avenue Q -as recently as Tuesday, there was a Facebook item lamenting the decision. Save for an Isabelle Stevenson honorary Tony for his mentoring and humanitarianism, the man who has created massively long runs on Broadway has never won a Tony-and he has been nominated six times: Pippin, Godspell, Working (two noms), Rags and Wicked. He has three Academy Awards-two for Best Score and Best Song (“Colors of the Wind”) for Pocahontas and one for Best Song (“When You Believe”) for The Prince of Egypt, four Grammys, four Drama Desk Awards, two Broadcast Film Critics Awards, a Golden Globe, a self-described “tiny handful of tennis trophies” and prominent spots on the Hollywood Walk of Fame, the Songwriters Hall of Fame and the Theater Hall of Fame. This essentially is a fund-raiser for the American Songbook Association, and I’m happy to participate in that.” It’s nice to know, of course, but these awards are supporting the organizations that give them out. “I did not realize that,” he admits, but then, “I have to be honest: I haven’t been keeping count. Never mind that this will be-literally-his 17 th Lifetime Achievement Award. If participating in this gala is helpful to that mission, then I’ll do it-plus, being considered part of the American Songbook is clearly an honor, and I’m glad to be considered as having contributed to that.” “I know they’re looking to expand their mission in public schools in Chicago and L.A. “Their primary purpose is education, and I’m sorta associated with that as well,” he contends. Schwartz, who sealed the ASA deal pre-pandemic and only now is getting around to sitting still for a salute May 9 at Merkin Hall at Kaufman Music Center, is quite attuned to the ASA goal. We are using this music to expand these kids’ scope. There are plenty in New York who do that. “We’re not trying to create little performers. Going into underserved public schools with this message is the major objective of ASA, she says. These are songs that have been recorded over and over by various artists, and they have become American standards.” “It’s not just written by five long-gone guys from the Lower East Side of New York-not just Irving Berlin or Harold Arlen or Cole Porter. “The American Songbook is still being written,” insists Montgomery. Some of his most popular works include Godspell, Pocahontas, The Hunchback of Notre Dame, and more.ASA makes it their mission to preserve and promote the type of music Schwartz has created for stage and screen. Schwartz's wonderfully varied first 30 years of a professional songwriting career that has taken him from the stage to screen and everywhere in between. This folio provides a retrospective of Mr.
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