First off, I was thinking about writing the story in the prospective of a narrator who would basically be the lead or co-lead. Examples of narrators in musicals are the Emcee in Cabaret, the Leading Player in Pippin, and the Cat in the Hat in Seussical the musical. My reason for not wanting to do this is that they're tons of musicals that use this technique and I don't want to be like everybody else. Let's just say that this idea is high on my list of things to do.
An actual plot line that I had thought was really interesting awhile back were the riots that took place in Detroit in 1940 and 1967. This idea still intrigues me, but I'm really time concious and I'm not sure I'll have enough time to heavly research the subject, but I will keep the idea stored in my memory for the time being.
Getting on the subject of structure and ideas, I was thinking earlier this week about where composers get this from. It has to be difficult, especially because sometimes they are given a time limit in which they have to come up with something amazing. What's even more mind-blowing is that they accomplish this goal with an extraordianry product finished most of the time. I was thinking maybe I could email them and ask them questions and advice. Maybe they would want to give there advice to people in need (me). The worst they could do is not reply, and I would understand that. The composers I had in mind were Frank Wildhorn, Jason Robert Brown, Marc Shaiman, Sara Barallies (she's currently writing the music for a show so she could give really good advice) and Jonathan Reid Gealt. So far, I haven't found an email that I could reach them at, but I did find their twitter accounts so I was thinking of direct messaging them.
That's all for this week. Thanks for reading!