RT Video/DVD DB /z-wcorg/ DS http://worldcat.org ID 140496404 LA English T1 [Interview with Marvin Hamlisch : raw footage] A1 Hamlisch, Marvin., Kantor, Michael,, Kantor, Michael,, Hunt, Mead,, PP New York YR 2003 AB Raw interview footage used for the documentary Broadway, the American musical. Composer Marvin Hamlisch discusses the American musical. Discussion begins on tape one at ca. 30 min. Hamlisch speaks about his first Broadway job as assistant to the vocal arranger for Funny girl. The show starred Barbra Streisand and its music was written by Jule Styne, a composer and mentor who Hamlisch believes understood how to write music for Broadway. Hamlisch discusses being hired by director/choreopgrapher Michael Bennett to write the music for A chorus line. Interview ends after 15 min. on tape one and resumes on tape two. Hamlisch examines his working process as the composer for A chorus line; rehearsing with Michael Bennett; what he views as the "genius" of the show, and how Bennett's direction gave the show shape during its workshop process; how he came to write the hit song "What I did for love" with lyrics by Edward Kleban; the two kinds of songs included in A chorus line, and more on how he worked with Kleban; his writing of the song "One," whose melody emulates Germanic music like that of Kurt Weill. Hamlisch also discusses his views on a variety of topics related to Broadway. These include his appreciation of a "classic, blue suit" type of music which endures on Broadway; the current kinds of shows being produced; the shows West Side story and My fair lady; how Broadway musicals adapted after the terrorist attacks of Sept. 11, 2001; Broadway as "the" American art form; the dissemination of Broadway tunes via radio; the importance of retaining Broadway's musical heritage embodied in the work of Alan Jay Lerner and Frederick Lowe, Cole Porter and Richard Rodgers, and the need for new, original shows on Broadway; the experience of seeing a new show and "falling in love with it," as he did with The fantasticks; musicals as a reflection of American "we can do it" optimism; composing for the movies in comparison with writing the music for a stage musical; the "mega-musicals" of Andrew Lloyd Weber; the songwriting of John Kander and Fred Ebb; the role of television and mass media in making the rest of the nation aware of Broadway and its performers; the contributions of composer Stephen Sondheim; lyricist Oscar Hammerstein, who wrote songs designed to integrate fully into the musical; the kinds of musicals he hopes to see on Broadway in the future. Interview concludes with audio only discussion for a few minutes on performer Robert Morris.