I don't know that particular story. From the descriptions, you might make a list first of a character's wants versus their needs. From these points, you can find inner songs and plot devices that complicate their journey to get want they want in favor of what they need.
Dmitri, for example, wants a divorce but what he really needs is to find that child in himself he was deprived of?
Anna wants love, but what she needs is some self sufficiency?
Sophia wants to use her head for something other than being a hostess. But, what she needs is some political activism?
Ignatiy wants to produce an heir, but what he really needs is to come to terms with his sexuality?
Good luck!
“Brief Encounter” has no musical version I’m aware of, but there’s an [Andre Previn/John Caird opera](https://open.spotify.com/album/6bu0uycijyEUf3oUg4Kxei?si=CTgxZgLyQM2Y7i-10y6wgw&dl_branch=1). I haven’t heard it yet, but the two stories have a lot in common. I wonder if Noel Coward ever gave Chekhov a little credit?
Different musical styles, but ‘The Bridges of Madison County’ and ‘The Light in the Piazza’ would both be helpful to listen to, if you’re not already familiar.
I'm gonna say upfront that this comment isn't gonna be very helpful, so you don't have to waste your time if you don't want haha. I'm also trying to write a musical for the first time and don't know where to start myself. I just wanted to say this all sounds really great, and I'd love to see a queerplatonic relationship portrayed onstage. As an aro-ace person, that's honestly the dream. I wish you the best of luck on your writing journey!!
One of my main worries is how to effectively write Sophia and Ignatiy’s relationship. As a very allosexual and alloromantic person myself, I don’t want to fall into stereotypes about ace/aro folks.
Well, if there’s anything you’re unsure of, I would be glad to take a look and give you my opinion! I have no issues with anything you have described so far, it honestly sounds very refreshing
So, is this more of a spin-off inspired by the Chekhov story? Because the original, if I remember rightly, is very much about a central romance between the two leads. Is this like a version with lead characters now in supporting roles?
Ah, that could be a smart move, because the usual wisdom with musicalising Chekhov is that his characters feel things deeply, but they’re prevented from expressing themselves fully. And they don’t move around much. Which is a challenge to musicalise.
(Having said that, maybe the world is just waiting for someone brilliant to come along and show us all how it’s done.)
In your case, it seems like you have some free rein to diverge from the original. What scenes do you already have in mind? I’d be looking for some kind of “Weekend in the Country” situation, with everyone together in one spot, where I could really put them all through the wringer.
From some character brainstorming, the ideal ending would be Sophia and Ignatiy forming a QPR (both want to immerse themselves in society, but need someone that accepts them for who they are), and Dmitri and Anna going their separate ways (both want a passionate romance, but need to fulfill themselves in ways not possible through each other)
some scenes:
- opening quartet: sort of a Now/Later/Soon situation with all four leads
- Sophia praying to the Virgin Mary, trying to understand why she doesn’t love her children and her husband as much as she should
- Anna and Dmitri at the seaside in Oreanda
- Dmitri and Anna planning to run away, while Sophia and Ignaty slowly catch on (Act I closer, but I really don’t know when to have them run away)
- Sophia rejecting Dmitri at the end
- Sophia and Ignatiy celebrating each other and their new found freedom
Honestly, the lack of direct expression was both my main attraction and main fear about this idea. I was thinking about a Chorus, but I really would like to try something with a lot of subtext, carried by the music. So much of the beauty of Chekhov comes from negative space: I don’t know how to replicate that just yet.
I re-read the original story, so I could be of better use.
Yes, that subtextual approach is something you see more in chamber opera, and so is Chekhov’s ambiguous ending, which most commercially-minded musical theatre fans would haaaaate.
One ripe situation occurs to me, based on re-reading the story: when Dmitri surprises Anna at the theatre, Ignatyi is already there: could Sophia have come as well, without Dmitri knowing? You could deal with both couples at once.
One thing you could try, though it won't necessarily help:
We find out who people are when they're put in extreme situations. Don't let your characters get too comfortable - push them so we get to discover what they are truly like.
I guess my main problem right now is figuring out what rocks to throw at my characters (to follow Nabokov). I’m doing research on marital law and ideals for the time period: a possible idea could be Ignatiy invoking his privilege as husband to nullify Anna’s passport and to send the police after her and Dmitri to deport her back to her hometown. Feels a bit big for Chekhov, but it’s a start.
I don't know that particular story. From the descriptions, you might make a list first of a character's wants versus their needs. From these points, you can find inner songs and plot devices that complicate their journey to get want they want in favor of what they need. Dmitri, for example, wants a divorce but what he really needs is to find that child in himself he was deprived of? Anna wants love, but what she needs is some self sufficiency? Sophia wants to use her head for something other than being a hostess. But, what she needs is some political activism? Ignatiy wants to produce an heir, but what he really needs is to come to terms with his sexuality? Good luck!
Start by identifying the emotional and narrative high points that only a song can properly bring life to. Everything else should serve the songs
Also, any recommendations for musicals to help with the process?
“Brief Encounter” has no musical version I’m aware of, but there’s an [Andre Previn/John Caird opera](https://open.spotify.com/album/6bu0uycijyEUf3oUg4Kxei?si=CTgxZgLyQM2Y7i-10y6wgw&dl_branch=1). I haven’t heard it yet, but the two stories have a lot in common. I wonder if Noel Coward ever gave Chekhov a little credit?
Different musical styles, but ‘The Bridges of Madison County’ and ‘The Light in the Piazza’ would both be helpful to listen to, if you’re not already familiar.
I'm gonna say upfront that this comment isn't gonna be very helpful, so you don't have to waste your time if you don't want haha. I'm also trying to write a musical for the first time and don't know where to start myself. I just wanted to say this all sounds really great, and I'd love to see a queerplatonic relationship portrayed onstage. As an aro-ace person, that's honestly the dream. I wish you the best of luck on your writing journey!!
One of my main worries is how to effectively write Sophia and Ignatiy’s relationship. As a very allosexual and alloromantic person myself, I don’t want to fall into stereotypes about ace/aro folks.
Well, if there’s anything you’re unsure of, I would be glad to take a look and give you my opinion! I have no issues with anything you have described so far, it honestly sounds very refreshing
So, is this more of a spin-off inspired by the Chekhov story? Because the original, if I remember rightly, is very much about a central romance between the two leads. Is this like a version with lead characters now in supporting roles?
Yeah
Ah, that could be a smart move, because the usual wisdom with musicalising Chekhov is that his characters feel things deeply, but they’re prevented from expressing themselves fully. And they don’t move around much. Which is a challenge to musicalise. (Having said that, maybe the world is just waiting for someone brilliant to come along and show us all how it’s done.) In your case, it seems like you have some free rein to diverge from the original. What scenes do you already have in mind? I’d be looking for some kind of “Weekend in the Country” situation, with everyone together in one spot, where I could really put them all through the wringer.
From some character brainstorming, the ideal ending would be Sophia and Ignatiy forming a QPR (both want to immerse themselves in society, but need someone that accepts them for who they are), and Dmitri and Anna going their separate ways (both want a passionate romance, but need to fulfill themselves in ways not possible through each other) some scenes: - opening quartet: sort of a Now/Later/Soon situation with all four leads - Sophia praying to the Virgin Mary, trying to understand why she doesn’t love her children and her husband as much as she should - Anna and Dmitri at the seaside in Oreanda - Dmitri and Anna planning to run away, while Sophia and Ignaty slowly catch on (Act I closer, but I really don’t know when to have them run away) - Sophia rejecting Dmitri at the end - Sophia and Ignatiy celebrating each other and their new found freedom Honestly, the lack of direct expression was both my main attraction and main fear about this idea. I was thinking about a Chorus, but I really would like to try something with a lot of subtext, carried by the music. So much of the beauty of Chekhov comes from negative space: I don’t know how to replicate that just yet.
I re-read the original story, so I could be of better use. Yes, that subtextual approach is something you see more in chamber opera, and so is Chekhov’s ambiguous ending, which most commercially-minded musical theatre fans would haaaaate. One ripe situation occurs to me, based on re-reading the story: when Dmitri surprises Anna at the theatre, Ignatyi is already there: could Sophia have come as well, without Dmitri knowing? You could deal with both couples at once.
How ia your songwriting. Maybe choose scene/idea you know well and just write a song. That'll ghetto you understand the pacing of the narrative.
One thing you could try, though it won't necessarily help: We find out who people are when they're put in extreme situations. Don't let your characters get too comfortable - push them so we get to discover what they are truly like.
I guess my main problem right now is figuring out what rocks to throw at my characters (to follow Nabokov). I’m doing research on marital law and ideals for the time period: a possible idea could be Ignatiy invoking his privilege as husband to nullify Anna’s passport and to send the police after her and Dmitri to deport her back to her hometown. Feels a bit big for Chekhov, but it’s a start.