Musicals—17

As we leave the 60s, realize there are SO many musicals we didn’t have time to mention—all of which came from Broadway: Can-Can [1960], Camelot [1967], Thoroughly Modern Millie [1967], Chitty Chitty Bang Bang [1968], and Sweet Charity [1969]. And though the 70s begin with another Broadway hit, On a Clear Day You Can See Forever [1970], an original musical will take the decade by storm and become an enduring hit into the present—so enduring it’s already been remade! And that film is Willy Wonka and the Chocolate Factory [1971] by Roald Dahl.

The writing of this musical is of particular interest. Roald Dahl, a beloved British novelist, wrote the screenplay based on his own book. However, another screenwriter, David Seltzer, was brought in as an uncredited writer to rewrite Dahl’s script and made major changes to it—so much so that Dahl distanced himself from the movie, in effect, disowning it he disliked the changes so much.

This is a great example of what often happens in adaptations—the source material changes for the adaptation to film. Think about it, a book might easily be 400 pages long, a screenplay is around 100 pages—you just can’t put everything from the book up on screen. This necessitates combining characters and making changes that the author of the original novel may find difficult to do.

It’s interesting that the film got made as a musical at all—it’s not often that novels become musicals. Perhaps because it was a children’s book? Anyway, become a musical it did. And it’s a delight.

One of the things that makes this musical stand out is the main character, Willy Wonka. He’s not a beloved old candy maker who putters around his candy factory with bits of chocolate and caramel stuck to his sleeves. Oh no. He’s an abrasive, evasive, mysterious, autocratic candy maker whom you better not get on the bad side of.

Having a main character who can’t be pigeonholed is a huge plus to a film—it keeps the audience wondering, keeps them on the edge of their seats as they try to figure out what this guy’s deal is and what he’ll do next. In the case of Wonka, what kid will bite the dust next in the labyrinth of the candy factory.

So that’s one take home for you—write un-stereotypical main characters! And here’s another take home—do you have a favorite children’s book? One you just loved as a kid or love reading to your own kids? Could you see it as a musical? If so, why not think about optioning the book?

If it’s a new kids' book, chances are the author may have other offers, but if it’s a few years old or very old, hey, it’s sitting on a shelf, and the author might welcome a bright, industrious person like yourself offering to work on a musical screenplay based on the book. The author could agree to give you a 1 or 2 year option during which you could try and make a go of it and sell the project to a studio.

Stranger things have happened!

Copyright © Diane Lake

17Nov19

Email Diane a question to Diane@DianeLake.com