Talk about the critical response to his work. Any comment on that?
Carol de Giere: It certainly bothered him for a long time that few of the New York Theatre critics praised his work. He really wanted to be a new Richard Rodgers—someone who was fully accepted and acclaimed for his role in shaping musicals. It didn’t work out that way. Critics outside of New York, and the audiences, are more likely to respond positively to Schwartz’s work. Many people I’ve spoken with like his musicals because they tend to be upbeat and they have a purpose and message. Ben Brantley, in his New York Times review of Wicked, called it a “sermon of a musical.” That’s exactly what I like about Schwartz’s work—it makes a stance on strong ethical concerns or issues about personal character. He likes to write that way and he’s good at it. Life is challenging, so we benefit from art that supports our personal growth and the development of our society.
Talk about the critical response to his work. Any comment on that?