|At Stages Theatre Company on opening night of LLAMA LLAMA RED PAJAMA|
I am frequently asked how I take a picture book of say 200 words or so, and turn it into an hour musical. I have a few secrets that I'd like to share.
The book author has already done a lot of the work. They have developed a character, a problem, and an ending. So I begin there.
In the case of Anna Dewdney's LLAMA LLAMA RED PAJAMA, Artistic Director Sandy Boren-Barrett had the idea of having six baby llamas and six mama llamas instead of just one each. Each character has a unique and clear personality. The individual mamas only relate to their own babies, so in essence there are six stories tied together with wonderful musical numbers composed by Shirley Mier.
Then my imagination gets to unleash. One of the babies is a drama llama, another loves to golf, one likes to do magic tricks, Billy is the next "tap-dancing sensation!", one baby plays soccer, and another is an avid reader.
As a result, each baby establishes what they do immediately. They have conversations with their stuffed baby llamas. Once they're tucked in bed, they come up with crazy ideas as to why their mamas aren't coming back to check on them.
"She probably joined the circus." "I'll be she went to outer space!" "She probably joined "Dancing With The Stars." "She went to Hollywood to be on "Are You Smarter Than A Llama?" "I'll bet she went up the beanstalk!"
And yes, I did word play. How could I resist having one of the mama llamas who happens to be a clean freak say: "I'd better clean up in case Obama Llama stops by." Or: "Pick up your dolly, llama." I just couldn't help myself.
Then the audience watches these vignettes come to life through the magic of theatre. It's just enough to keep the young ones engaged and the parents chuckling. What parent doesn't relate to trying to get their child to bed? And how creative do kids get in trying to have their parents return?
There are wonderful musical numbers such as: "I Don't Want to Go to Bed", "Llama Lullaby", "All Alone", "The Humming Song", "What is Mama Llama Doing?" and "Stomp and Pout, Jump and Shout".
I try very hard to stay true to the original author's intent although clearly much is added in the creation of a musical. But I think a lot of the process is wonderful for a picture book author. For example:
Jennifer Kirkeby is a published playwright, actress and teaching artist. Her adaptation of Ludwig Bemelmans' MADELINE'S CHRISTMAS (Dramatic Publishing Company) has been performed in more than 45 theatres nationwide. She's the mama of two beautiful girls who were masters of avoiding bedtime when they were little.
- Try writing your story only with dialogue. How does it change things?
- Try asking: "What if?" Let your character fly to outer space if they feel like it. You can always bring them back later.
- Don't limit the dialogue to just the characters. What if the stuffed animal talked to your character? What if their pet spoke to them? The lamp? What would they say, and how would your character respond?
- Try different settings for your story. How would it change if your character was in a boat in the middle of the ocean? In a tree? In another country?
- DON'T CENSOR YOURSELF! This is a big one for me and a lot of writers. You know that voice that is always telling you: "That is ridiculous. A chicken can't waltz!" Well, guess what? In my world they can! Have fun. The real work begins in the rewrites anyway.