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JAMES BURN introduces Legacy Burns

Daytime drama, outrageous plots and the challenge of bringing a whole new musical to the stage........

What first attracted you to the theatre?
My academic background is in music – but theatre and, in particular, musical theatre was always part of my life. My parents would bring my sister and me to London for trips to see the big musicals when we were kids. We’d buy the record (yes, it was that long ago) and I’d learn to play the songs from the lyrics on the sleeve-notes. It sounds like something from another era. I grew up with the mega-musicals of the 80s.

And does Legacy Falls follow in that tradition?
Not at all! Legacy Falls is a book musical, and a musical comedy at that. In fact, before I started writing Legacy, I’d just finished writing a big old sung-through historical musical and I really felt the need to write a musical in which people were allowed to speak. But a book musical can be a tricky proposition for a modern audience and I think it’s vital to create a world where it is somehow natural, or permissible, for the characters to launch themselves into song. American daytime drama seemed to be the perfect environment for that to happen.

Why is that?
There’s an inherent musicality to the setting. Most US soaps have wall-to-wall underscoring as a matter of course. And the characters already inhabit a heightened reality. American soaps may not be well-known here in the UK, but we all recognise the genre and we know that we can expect outlandish plot-lines and melodrama galore. It’s only a small step from that to a full-blown company number. Legacy Falls is a fictional American daytime drama that is suffering the general malaise of all daytime dramas. Ratings are down and the producers have to go to increasingly desperate lengths to keep the viewers interested.

It’s very unusual to write book, music and lyrics....
That was partly a deliberate choice on my part. I’ve collaborated with other writers before and usually enjoyed the process but I wanted to write alone for a change. However, musical theatre is always about collaboration and I’ve tried to keep an open mind (and a thick skin) throughout the process. For Legacy Falls, I’ve been extremely lucky. Our director, Ian Poitier, has had a lot of input in helping me re-tune the overall structure of the piece and has challenged me constantly to tighten things here, tweak things there. That sounds saucier than I intended. Suffice to say, he’s been closely involved in creating the final draft with me, and that pays huge dividends in the rehearsal process too.

It’s a huge challenge bringing a totally new musical to the stage, how has it been for you?
Definitely but our producer, Danielle Tarento, has put together a great creative team. The trick for me, as the writer, is to stand back and let everyone get on with what they know how to do. It requires a certain amount of trust at first, but that trust pays off when you start seeing their ideas come to life. And we have a fantastic cast. It is a joy for me to hear the songs being performed by such great singers and everyone seems to relish the chance to work with new material and be the first to make it their own.

What makes a really good character?
For me, a good character is someone who, as a starting point, knows their place with total conviction. Edward Trafford, the lead character in Legacy Falls, has been with the show for 30 years. He’s utterly secure in this world and has all the assurance of a pro at the top of his game. But when that world starts to topple and people stop playing by the rules, how does he cope? It makes for an interesting journey for the character and hopefully for the audience because, of course, he is forced to question the assumptions he has always made about himself.

What is your opinion of Off West End theatre, in general?
The level of talent in London is extremely high. Until recently I lived in Paris where I worked on the French production of The Lion King. There are a huge number of small fringe venues there but rarely anything like the quality of performance we see here. And given that level of talent, it’s surprising that here in London there aren’t a few slightly larger spaces. We have a lot of intimate venues that are great for intimate shows, but it’s not easy to find a space that will make a medium-sized musical economically viable for producers.

James Burn read Music at Oxford University and has worked as a musical director, performer and teacher in Bermuda, France and the U.K. He has written music and lyrics for numerous musicals and pantomimes and has worked on four seasons of Broadway in Bermuda for Two Island Productions, featuring some of New York’s finest performers including Tony nominees Liz Larsen and Daniel Jenkins.
In Paris, he worked on the record- breaking French production of Disney's The Lion King at the Mogador Theatre. His musical, Legacy Falls, is receiving its premiere at the New Players Theatre. (October 29th-November 20th, previews on October 27th and 28th). www.legacyfalls.com






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