On Music in the Movies

Last week I submitted a letter to the New York Times in response to an Arts & Leisure article they ran about the movie musical. They didn't print it, but here it is for anyone's interest...

To the Editor:

By incorporating music, television is building the
bridges that will help American audiences to better
transition to movie musicals (Rebecca Traister,
“Waiting for the Razzle-Dazzle,” February 29).

While 1990’s prescient-but-doomed COP ROCK
floundered because of its premise (singing cops),
characters on ALLY MCBEAL (1997-2002) regularly broke
into fantasy song and dance numbers to audience
delight and critical praise. In 2001’s groundbreaking
musical episode of BUFFY THE VAMPIRE SLAYER (“Once
More With Feeling”) the sudden songs worked, not only
because of the established conceit—a demon brought on
the song and dance—but because of series creator Joss
Whedon, whose creative, brilliant songs had audiences
believing that when things get too intense, emotions
will break through using the combined power of music
and words.

Shows like these, which incorporate the whimsy,
humor and emotion of music, leave viewers craving
more, even hoping for COP ROCK 2004: RESURRECTION.

On Music in the Movies

Last week I submitted a letter to the New York Times in response to an Arts & Leisure article they ran about the movie musical. They didn't print it, but here it is for anyone's interest...

To the Editor:

By incorporating music, television is building the
bridges that will help American audiences to better
transition to movie musicals (Rebecca Traister,
“Waiting for the Razzle-Dazzle,” February 29).

While 1990’s prescient-but-doomed COP ROCK
floundered because of its premise (singing cops),
characters on ALLY MCBEAL (1997-2002) regularly broke
into fantasy song and dance numbers to audience
delight and critical praise. In 2001’s groundbreaking
musical episode of BUFFY THE VAMPIRE SLAYER (“Once
More With Feeling”) the sudden songs worked, not only
because of the established conceit—a demon brought on
the song and dance—but because of series creator Joss
Whedon, whose creative, brilliant songs had audiences
believing that when things get too intense, emotions
will break through using the combined power of music
and words.

Shows like these, which incorporate the whimsy,
humor and emotion of music, leave viewers craving
more, even hoping for COP ROCK 2004: RESURRECTION.