It took Bard about 15 seconds to write the outline for a hit West End Musical. Are you feeling worried ALW?
I had been asked to road test Bard. Of course I asked it to do something I have been trying to do for 35 years. Write A Hit West End Musical.
After 15 seconds it came up with a plot line and even an example song, and suggestions of musical styles.
The musical is set in the early 1900s in London. The story follows two young people from different social classes who fall in love. The young man, a street artist, is from the working class, while the young woman, a debutante, is from the upper class. Their love is forbidden by their families, but they are determined to be together. The musical follows their journey as they try to overcome the obstacles in their way.
The musical would be a mix of genres, including drama, comedy, and romance. It would have a strong score with catchy songs that would stay with the audience long after the show is over. The musical would be visually stunning, with elaborate sets and costumes. It would be a must-see for anyone who loves a good love story.
Here is a sample song from the musical:
(Verse 1) I met you on a street corner, You were selling your paintings. I was drawn to your smile, And the way you made me feel.
(Chorus) We’re from different worlds, But I don’t care. I love you, And that’s all that matters.
(Verse 2) Our families don’t approve, They say we’re not meant to be. But I don’t listen to them, I only listen to my heart.
(Chorus) We’re from different worlds, But I don’t care. I love you, And that’s all that matters.
(Bridge) We’ll face whatever comes our way, Together we’ll make it through. Our love is stronger than anything, It will never die.
(Chorus) We’re from different worlds, But I don’t care. I love you, And that’s all that matters.
OK that was alright. So I asked Bard to come up with music. It didn’t do that but it gave me the chords:
By now it had named the song: “We’re from Different Worlds”:
The verse started strongly G, (obviously everything starts with a G!) D, Em, C are the chords for the verse. Yeah Great – I can woirk with that!
Then straight into the chorus… AH OK – G D Em C could have done somthing more with that but OK… Verse Chorus and then the Bridge – yes get in there Bard…. ah G D Em C…. obviously Bard has his limitations!
Having said that the difference between the music of Joseph and His Amazing… and Woman in White is fairly marked (so maybe Bard too will grow!
I asked Bard to give me another song from the show:
Title: “The World Is Ours”
[Verse 1] We’re from different worlds, But we’re meant to be. Our love is stronger than anything, It will never die.
[Chorus] The world is ours, We can do anything. We’re not afraid, We’re not alone.
[Verse 2] We’ll face whatever comes our way, Together we’ll make it through. Our love is stronger than anything, It will never die.
[Chorus] The world is ours, We can do anything. We’re not afraid, We’re not alone.
[Bridge] We’ll build a future together, A world where love is free. We’ll make our dreams come true, For you and me.
[Chorus] The world is ours, We can do anything. We’re not afraid, We’re not alone.
And the chords? C, G Am F!!! I notice a pattern, but I was starting to worry that if Bard thought West End Musical were formulaic and it can get away with chucking out the same old stuff, does ALW think the same??
Then I asked for some characters for this musical…
- Eliza Doolittle: A young Cockney flower girl who is struggling to make ends meet. She is intelligent and resourceful, but she is also fiercely independent and proud. She dreams of a better life, but she is afraid to take risks.
- Henry Higgins: A professor of phonetics who is determined to transform Eliza into a proper lady. He is brilliant and charming, but he is also arrogant and condescending. He sees Eliza as a project, and he is determined to prove that he can make her into a lady.
- Alfred Doolittle: Eliza’s father, a drunken layabout who is always looking for a handout. He is a lovable rogue, but he is also irresponsible and unreliable. He sees Eliza as a meal ticket, and he is always trying to take advantage of her.
- Mrs. Higgins: Henry’s mother, a wealthy and well-connected woman who is fiercely protective of her son. She is a force to be reckoned with, but she is also kind and compassionate. She sees Eliza as a threat to her son’s happiness, and she is determined to sabotage her.
- Colonel Pickering: A friend of Henry’s who is also a professor of phonetics.
No, make some up I asked… same list! But that’s plagarism, make your own characters up… same list.
Argh! We were so close!
A different Tack
Looking for something more edgy, I asked for a show to take to the Edinburgh Fringe – It gace me 4 and then wrote a song for one of them
A group of strangers meet in Edinburgh and form a bond through their shared love of theater. They put on a show together, and in the process, learn about the importance of community:
Title: “We Are One”
[Verse 1] We came from different places, With different dreams and goals. But when we met in Edinburgh, We found a common bond.
[Chorus] We are one, We are the theater community. We come together to create, To share our stories and dreams. We are one, We are the theater community. We are stronger together, And we will never be alone.
[Verse 2] We put on a show together, And in the process, we learned. We learned about ourselves, And we learned about each other.
[Chorus] We are one, We are the theater community. We come together to create, To share our stories and dreams. We are one, We are the theater community. We are stronger together, And we will never be alone.
[Bridge] We are the theater community, And we are here to stay. We will continue to create, And we will continue to share our stories.
[Chorus] We are one, We are the theater community. We come together to create, To share our stories and dreams. We are one, We are the theater community. We are stronger together, And we will never be alone.
And what about the music… yes CGAmF for verse, chorus and bridge! But at least the rhythm was different.
I was losing interest.
But one last thing I wanted to try. Irked at the American spelling of Theatre, I asked Bard to spell it “correctly” in future. Bard promised it would try! I thanked it: “You’re welcome! I’m glad you appreciate it. I’m always trying to improve my spelling and grammar, and I appreciate your feedback.”
If we haven’t changed the course of musical theatre, maybe we have for one small word.
