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T e above outli!e, " ic #lays li$e a mi%&seaso! e#iso%e 'rom t e C&Tseries 0nce 4pon a Time , "as ta$e! 'rom t e + eller& otel o -ebsite 'or t eir 2007#ro%uctio! o' 7 The Musical . co!tem#orary re"or$i!g o' /!o" - ite, "it'ragme!ts o' ot er "ell&$!o"! c il%re! s stories (Ci!%erella, Ra#u! el, /lee#i!g

eauty) mi e% i!to t e ste", 7 The Musical as %o!e 'or ra ilia! musical t eater " at /te# e! /o!% eim s (weene' Todd a!% /nto the 1oods %i% 'or roa%"ay: i.e., itsteere% t e same a%ult course t at /o!% eim 'irst too$ " e! e revitali e% merica!musical t eater by o#erati!g "it i! a noir 'rame"or$, " ic ma$es it t e #er'ect #ost&

allo"ee! treat4

5! /e#tember 2012, 5 "rote about t e gestatio! o' t is mo%er! classic (see t e li!$ tomy #ost: tt#:66 osmarlo#es."or%#ress.com620126086116be&care'ul&" at&you&"is &'or&a&bra ilia!&'airy&tale&musical&comes&to&t e&rio&stage6), o!e t at s yet to reac our s ores.

e t at as it may, t e rece!t a!!ou!ceme!t i! ra il o' a T &mi!iseries (i! seve!c a#ters, !o less) base% o! t e a"ar%&"i!!i!g s o" as re$i!%le% i!terest i! t e

musical s merits. 5! a%%itio! to " ic , %irector a!% boo$ "riter C arles + ellerco!clu%e% a t"o&mo!t master class i! 9u!e 2013, at t e Casa %e rtes %e ara! eiras( ouse o' t e rts o' ara! eiras), or C 'or s ort, i! " ic a stu%e!t #rese!tatio!o' 7 The Musical "as t e 'eature% s o"case. T ere s eve! a se;uel to t eir it s o"i! t e "or$s4

T is latest article, t e!, i!clu%es a 'ollo"&u# co!versatio! "it t"o o' t e s o" screators: C arles + eller a!% musical %irector, lyricist, a!% a%a#ter Clau%io otel o ilar s score 'or Bram (to"er s!racula : slo" a!% %eliberate, "it lots o' %ee# bass. T ere s also a #ia!o&$eyboar%ar#eggio i! t e early goi!g t at s similar to /"ee!ey To%% s moti'. T is "as #robably%ue to +otta s musical eclecticism (see my earlier i!tervie" "it a &'u!$ artist B%+otta: tt#:66 osmarlo#es."or%#ress.com6201360D60D6meet&e%&motta&t e&real&music&

ma!&o'&bra ilia!&musical&t eater6 ) a!% to is e te!sive recor% collectio!.Clau5io Botelho A 5 assure you t at =7? is totally ER/ a!% origi!al i! every "ay. 5t s!ot base% o! a!y e isti!g "or$, !ovel, or 'ilm, a!% it o"es !ot i!g to ot er aut ors. 5t sa "or$ t at too$ several years to com#lete, co!structe% i! a ma!!er t at s !ot bee!trie% be'ore, by our starti!g out "it !ot i!g but t e music a!% arou!% it buil%i!g a storyli!e "it lyrics a!% te t.

Charles M6eller A -it out a %oubt, t is is our most mature #iece, o!e t at u!%er"e!ta very u!usual #rocess. 5 al"ays t oug t it "as easy to %o t eater, to "rite a sce!e,but "it everyt i!g co!!ecte% to my bra!% o' umor. 5t "as t is "ay "it AsMalvadas (T e -ic$e% !es), a s o" 'rom 1887G, a!% &ole 5orter$ He )ever (aid He

6oved Me 'rom 2000G. 7 The Musical "e!t i! t e o##osite %irectio!. 5! 'act, it "as atreatise o! e!vy, o! beauty, a!% i! sum < somet i!g 5 %iscovere% lo!g a'ter < it "as

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a! e cee%i!gly i!%ivi%ual treatme!t o' t e /!o" - ite story vie"e% 'rom t e va!tage#oi!t o' t e ste#mot er. T e "or$ #laces t e ste#mot er at t e ce!ter o' t e actio!,a!% /!o" - ite (i! t is case, ia!ca) i! t e role o' t e villai!.

7 The Musical "it lessa!%ra +aestri!i (moellerbotel o.com.br)

3osmar 'o4es A 5! t at res#ect, your #lay is as goo% as, i' !ot better t a!, a! o#era4rias, %uets, trios, c oruses, %a!ce < it s a 'abulous, 'abulous s o"#iece, a!% you

guys s oul% be co!gratulate% 'or avi!g "ritte! it. 5t s !ot " at 5 "oul% call a ='amily&ty#e? s o", but t ere are lots o' 'ol$s out t ere " o sim#ly love The Addams

amil' or The )ightmare Before &hristmas a!% ot er %ar$&t eme% "or$s. T ere sal"ays a! au%ie!ce 'or t e macabre, es#ecially arou!% allo"ee!, so t at s oul%! t bea i!%ra!ce. Hive! time, it ca! easily =catc o!.? !% it s certai!ly !ot your ty#ical

ra ilia! musical.

Clau5io Botelho A =7? is about love a!% reve!ge, but also about blac$ magic a!% t e "ay some ra ilia!s %eal "it t eir roma!tic issues. ut 5 m sure !o!e o' t e abovema$es it a! obvious = ra ilia!? musical. =7? is ra ilia! i! its esse!ce, i! t at it s a 'airytale t at ta$es #lace i! a # a!tasmagorical Rio %e 9a!eiro. 5t tal$s about t i!gs t at "e

ra ilia!s u!%ersta!% "ell, t i!gsG suc as au!ts, go%mot ers, !eig bors, !ove!as,

#o"er'ul curses, #rayers, voo%oo, bor%ellos, ol% #rostitutes, etc., "it out our avi!g to'ill u# t e stage "it mulatas . 5 m as ame% o' !ot bei!g very mo%est about t is s o",but 5 ave t e 'eeli!g t at somet i!g really !e" a!% i!teresti!g ca! be satis'yi!g 'ora!y au%ie!ce, " et er t ey be ra ilia! or 'oreig!.

3osmar 'o4es A - ere %i% t ese i%eas origi!ateI !% " at is t e sig!i'ica!ce o' t e!umerical titleI

Charles M6eller A - y is t e #lay calle% =7?I ecause o' t e "ic$e% "itc s seve!re;uests a!% because t e " ole symbolism o' t e rot ers Hrimm is base% o! t e!umber =7? < seve! %"ar's, seve! ills, seve! brot ers, a mirror bro$e! i! seve!#laces, seve! years o' ba% luc$, etc. 5! a certai! "ay, co!ceale% or !ot, all t is is i! t e#layJ a'ter all, t e Hrimm rot ers stories "ere base% o! Herma! 'ol$lore, " ic is rici! all t ese myt s. +y 'amily is Herma! a!% 5 gre" u# liste!i!g to t ese stories. T e

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stra!gest t i!g o' all is t at t ese tales are emasculatio! stories "it relatio! to "ome!.T e ste#mot er is ba% because s e s beauti'ul a!% #o"er'ul, a!% s e ll be #u!is e%

"it ugli!ess a!% ol% age. - y %o "ome!, " e! t ey reac ol% age, lose " atevervalue t ey a% i! yout I $i!g ca! get 'at because e s ric a!% #o"er'ul, but !ot is

"i'e, " o goes 'rom bei!g a #ri!cess to bei!g a "itc . T e social mi!%&set co!tai!e% i!

t ese stories is im#ressively retrogra%e. 5t "as my immersio! i! all t ese tales, t i!$i!glo!g a!% ar% about t em, toget er "it my 'asci!atio! 'or t e suburba! u!iversecreate% by #lay"rig t Nelso! Ro%rigues " o "as a cousi! o' my 'at er sG, t at 5

"rote 7 The Musical .

7 Curses (artevie".com.br)

Clau5io Botelho A 5 "oul% a%% t at because o' t e "ay "e built t e s o" arou!% t e#erso!alities o' our u!co!ve!tio!al cast < Ke L +otta (@o!a Carme!), RogLria (@o!a

%ette), Blia!a Mittma! (@o!a Rosa), 5%a Homes ( l% /te#mot er), a!% Tati > ler(Clara)J lessa!%ra +aestri!i, t e Fer!a!%a +o!te!egro o' musical t eater, as meliaJ

ia!ca, magisterially #ortraye% by lessa!%ra er!ey < our biggest c alle!ge "as tocreate a ra ilia! musical, but "it out samba, "it out mulatas , "it out Car!ival, a!% "it out o a2o a . T is actually co!s#ire% agai!st us, because #eo#le accuse% ours o"G o' bei!g muc too somber.

3osmar 'o4es A 5t certai!ly loo$s t at "ay, at least o! @ @. T at is o%%, co!si%eri!gt e locale is su##ose% to be =+arvelous City? Rio.

Charles M6eller A lt oug t e #lay ta$es #lace i! Rio %e 9a!eiro, t ere s !ot o!e rayo' su!s i!e to be see!. 5t eve! s!o"s t ere4 !% "it B% +otta s music, very i!%ivi%uali! timbre, #eo#le ust sat t ere al' i! s oc$. -e "ere i!siste!t a!%, slo"ly but surely,

"e co!;uere% t e #ublic.

3osmar 'o4es A o" %i% you 'i!% "or$i!g "it suc a 'abulous castI

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Charles M6eller A 5t "as 'asci!ati!g "riti!g c aracters 'or t ese great actresses a!%#ut i!to #ractice all t at "e ve lear!e% t roug t e years. !% =7? "as our caul%ro! o'i!ca!tatio!s, our laboratory, our Fra!$e!stei! mo!ster, but "it a a##y e!%i!g.

3osmar 'o4es A 5t still ama es me t at +otta "as able to com#ose suc stri$i!glymo%er!&sou!%i!g music, " ile at t e same time loo$ bac$"ar% at ol%er styles. T ereare eleme!ts o' r'' s &armina urana i! is melo%ies, as "ell as evi%e!ce o' B!!io+orrico!e s armo!ica t eme 'rom 0nce 4pon a Time in the 1est < s#ee%e% u#, o'course < i! t e !umber, 0 cora89o no os+ue (=T e eart i! t e Forest?), t at o#e!st e seco!% act, " ic "as cut 'rom t e #ro%uctio! i! / o Maulo.

Clau5io Botelho A 5 also li$e% t e = eart i! t e Forest? sce!e. 5t "as a so!g "it outlyrics ('or voices a!% melo%y o!ly) t at B% +otta #lace% i! o!e o' is C@ retros#ectivest at 5 =a##ro#riate%? 'or our s o". ut "e t oug t it "as! t 'ully reali e%, so "e cut t esce!e i!stea%. 5t "as su##ose% to ave bee! a !umber i! " ic t e =seve! %"ar's?(t e seve! you!g me!) are s$ati!g o! t e ice " e! su%%e!ly t ey 'i!% a "oma!

ia!caG 'ro e! i! t e "ater u!%er t eir 'eet. lt oug t e sce!e "as cut 'or t e / o

Maulo ru!, t e i%ea stuc$ a!% #er a#s "e ca! resurrect it i! our !e t #ro%uctio! o' t e#lay.

3osmar 'o4es A T at s !o %i''ere!t 'rom " at t e great o#era com#osers use% to %o,+o art i!clu%e%: t ey "oul% "rite sce!es a!% arias 'or t eir 'avorite si!gers, t e! a%%or subtract !umbers 'or ot er t eaters or " e! ot er si!gers too$ over t e roles. @o!

ttavio i! !on %iovanni , 'or i!sta!ce, is a goo% e am#le: e as t"o %i''icult but very%i''ere!t airs, bot "ritte! at %i''ere!t times a!% 'or %i''ere!t si!gers. 5! +o art s %ay,o!ly o!e o' t em "as su!g. ut to%ay, most te!ors si!g bot =@alla sua #ace? a!% =5lmio tesoro? because t e role is so s ort t at, " at t e ec$, t ey "i!% u# si!gi!g t et"o arias a!y"ay.

Charles M6eller A T e 'act t at "e close% ct 5 "it melia s ear&s atteri!g scream,u#o! er lear!i!g t e tragic 'ate t at a"aite% er < " ereby s e is %esti!e% to $ill t eyou!g ma! lvaro, t e #erso! s e most a%ore% < became #art o' t e igsa" #u let at resulte% i! t e au%ie!ce as$i!g itsel' t e ;uestio!, =- at s all t is aboutI? 'ter t ei!termissio!, "e a% to imme%iately clear u# t e issue "e raise% be'ore, !ot a%% to t eco!'usio!. -e !ee%e% to go bac$ to t e #oi!t o' %e#arture. T at "as t e mai! #roblem'or us. T is is " y "e %eci%e% to cut t e sce!e.

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Fi!ale to ct 5 (artevie".com.br)

3osmar 'o4es A T ere "as a!ot er cut me!tio!e% i! your s o", t e =/ce!e o' t eaby.?

Clau5io Botelho A To tell you t e trut , t is sce!e is e tremely im#orta!t. 5tG e #lai!st e origi!al situatio! o' melia, " o "as aba!%o!e% by er mot er a!% " o, i! t ee!%, ta$es Clara i!to er bosom as er o"! %aug ter, so t e circle ca! !ever beclose% 'or er.

3osmar 'o4es A - y "as t e sce!e cut i' it "as so im#orta!tI

Clau5io Botelho A T e sce!e is very %i''icult, i! t at t e t ree stars, Ke L +otta,RogLria, a!% Blia!a Mittma!, all ave to act about 20 years you!ger, to # ysicallyattem#t to be 20 years you!gerJ i! ot er "or%s, to be totally %i''ere!t 'rom t eir ol%erselves earlier o!. E!'ortu!ately, i! t e mi%%le o' re earsals "e reali e% it "oul% be too%ema!%i!g 'or t em, so "e %eci%e% to %ro# t e sce!e. 5 $e#t t e sce!e i! t e #ri!t

versio! 5 se!t you, because 5 'elt it gave t e so!g about t e baby (= oi um e : +ueateu na minha porta ? A = ittle abe Came >!oc$i!g at +y @oorste#?) a better

e #la!atio! 'or " at came be'ore "it t e sce!e i!tact t a! "it out it. -it t at sce!e'ully restore% ("it t e t ree ol%er actresses), t e baby so!g becomes a trio. 5t s also a'u!!y sce!e, "it some i!teresti!g bits 'or t e #er'ormers.

3osmar 'o4es A 5t s a 'u!!y sce!e, all rig t, but "it out it t ere s a uge ga# i!co!ti!uity a!% t e act 'eels li$e it coul% use more music.

Clau5io Botelho A 5 see !o #roblem i! i!clu%i!g more music i! ct 55. !% 5 also 'eelyou are rig t i! your #erce#tio! t at t ere is a ole t ereG, " ic comes 'rom t eabove cut. 5' "e retur! to our origi!al co!ce#t, t e sce!e becomes 'uller a!% %e!ser,

a!% t e #lay gai!s immeasurably 'rom it.

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3osmar 'o4es A - at %i% t e critics a!% revie"ers ave to say about your #layI

ercula!o a!% ia!ca (alessa!%raver!ey.com.br)

Clau5io Botelho A T e critics "ere u!a!imous i! #laci!g 7 The Musical as a "aters e% eve!t i! t e category o' %ramaturgy i! ra il. T e !ote% t eater critic 'or 0%lo o , arbara elio%ora, e #resse% some reservatio!s about t e music, but s e#raise% t e ;ualities o' t e s o" ;uite ig ly.

3osmar 'o4es A 5!%ee% s e %i%. 5 tra!slate% er revie" 'rom your -ebsite i!toB!glis , alo!g "it several ot ers. T ey ll a##ear i! Mart T"o as a co!ti!uatio! o' t isarticle. /#ea$i!g o' co!ti!uatio!s, 5 ear you a!% C arles are "or$i!g o! a se;uel to

=7.? @oes it ave a !ameIClau5io Botelho A -e call it ;eronica or

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love a!% rui!, " ic is " y t e !umber 13 tur!s u#, a merry&go&rou!% o' viole!t#assio!s: Me%ro " o loves aura, " o loves Fre%erico, " o loves ero!ica, " o lovesMe%ro, Fre%erico a!% aura, " o is love% by eticiaP !% 'rom t ere it ta$es o''4

3osmar 'o4es A -o", it s =7? times =7? o! steroi%s4 o" %o you go about #utti!g allt ese story eleme!ts toget er i! a co ere!t #atter!I

Clau5io Botelho A First, "e "rite t e #lay as i' t ere "as! t a!y music at all, a!% t e! "e begi! to %eco!struct t e #iece i! or%er to tra!s'orm it i!to a musical. ur #rocess isto "rite a =bible? o' sorts (C arles is t e o!e " o starts it o'') so later "e ca! trim t e='at? a!% leave o!ly " at s esse!tialP

Charles M6eller A 5t s 'u!!y, but =7? is t e s o" "e re most #rou% o' < t e s o" t at "o! t e most a"ar%s, t at gave us t e most artistic success, but it s also t e s o" t atma%e t e least mo!ey.

3osmar 'o4es A T at s s o"bi 4 Tell me about your master class, t e o!e you taug tat C (Casa %e rtes %e ara! eiras) 'or t"o mo!t s, a!% your stu%e!ts #er'orma!ceo' =7.?

Charles M6eller A T ree years ago "e starte% tal$i!g to C about co!%ucti!g amaster class or a "or$s o#, or givi!g a lecture < i! eit er case, a %iscussio! t atce!tere% arou!% musicals, to %emysti'y t eir glamour, a!% to s o" #eo#le t at "e remore li$e "or$er a!ts t a! la y grass o##ers.

3osmar 'o4es A 5 li$e t e a!alogy to A Bug s 6ife .

=@a!ce rou!% t e @ea% +a!? (moellerbotel o.com.br)

Charles M6eller A t 'irst, 5 resiste% %oi!g t e course. 5t "oul% be t"o mo!t s o' "or$,eig t "ee$s i! all < t e same time #erio% 5 use to re earse a #lay. Clau%io registere%my !ame "it out co!sulti!g me. T is "oul% be t e o!ly vacatio! "e % ave a'ter te!

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years o' "or$. +y 'irst reactio! "as to ave a stro$e4 T e! 5 sai%, = $ay, let s go 'or it4?5 a% a! i%ea t at 5 "a!te% to try: to go t roug t e real&li'e #rocess o' #utti!g toget era #ro%uctio! o' 7 The Musical i! eig t "ee$s4 5 mea!, it "oul% be eig t "ee$s o' t"oclasses #er "ee$: 1D 'our& our re earsals "it au%itio!s a!% #ractice i! stagi!g, "itcomme!tary as "ell as %iscussio!s about my "or$i!g met o%4 5 tol% t em everyt i!g,

or almost everyt i!g, t at 5 $!e"J a!% 5 ear% a lot about " at 5 %i%! t $!o". 5t "as t"omo!t s t at 'le" by, a!% believe it or !ot: "e /T HB@ =7? com#lete, "it some mi!orcuts a!% a%a#tatio!s, a!% "it a! i!cre%ible cast4

3osmar 'o4es Qou must ve bee! very #rou% o' your #u#ils4

Charles M6eller A T e !ig t be'ore t e s o", 5 "as so u#li'te% t at 5 "as s#eec less.! t e last %ay 5 sa" t at everyo!e a% give! everyt i!g t ey a%, t at ;ualitative lea#

5 al"ays e #ect 'rom my casts4 T ey s i!e%, all o' t em, a!% "ere u#li'te% i! $i!%, somuc so t at =7? came out as !ever be'ore4 T e #rese!tatio! o' =7? i! C "as o!e o't e best t i!gs 5 ave ever %o!e, because it "as a bloo% #act, a magic s#ell t at cameto li'e.

3osmar 'o4es A !% "it #la!s 'or a! u#comi!g T &mi!iseries still to come, let s o#et e s#ell lasts4 ut 'or !o", " at a "o!%er'ul "ay to e!% our i!tervie": "it a a##ye!%i!g4 T a!$ you, C arles a!% Clau%io, 'or your time.

(B!% o' Mart !e)

Co48right 9 :;8 3osmar %? 'o4es

Moste% i! ra ilia! Merso!alities , @rama , orror , +usica Mo#ularrasileira , +usical T eater , T eater

Tagge% 7 & +usical , 7 & T e +usical , lessa!%ra +aestri!i , lessa!%ra

er!ey , C arles +oeller , Clau%io otel o , Fairy Tales , 5%a Homes , !oirmusicals , !ce E#o! a Time , Rogeria , /te# e! /o!% eim , /"ee!eyTo%%, Tati >oe ler , Ke e +otta

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