mUsicals
There is something rather odd how, in all true sense of ernesty, that a well written and much sort after play, as Dr Jekyll and Mr Hyde; having dissident descendants' from a well founded Scottish writer, and other hundreds' of many wordily writers' who have subsequently written and been hijacked by the music-industry, as part of its' combined efforts to hijack the writing and co theatre-productions'-industry, shell we say a whole heartily money and scandalous affair of purposely over-rating the musical-theatrical-department-giving no or very little recognition to its' original counterpart of authenticity.
Rather we can say, it is an extreme exploitation of well founded historical writers' and or well established writers' of todays' and historical- efforts', who have established their names' in the films' and theatrical- industry . Leaving aside and not even recognising, the true efforts' and or countries' that the writings' have originated from.
Rather, when you see achieved materials', regarding musical adaptations' of such well established story based and Historically founded authors', you will see with clear evidence that the music-orchestrations' have boycotted the true essence of the accreditation's' of the authentic-author and or historical facts', with little means' of enticement of publicity.
Outrageously-Highlighting their own thirty odd people; who coincide and take the whole page of publicists', with a harmonious orchestration, and depicting themselves'- as under-handed and part practitioners' with the authentic creators' and or subsequent writers'. Leaving the readers' bemused and or, should I dare say it, misleading them into a falsity of belief, whereby the reader, is subsequently, by deliberate miss-appropriation of publications' of documentations' ion regards to this matter at hand, to believe that the established musical, is part of their writings', and or their own foundations of affairs'.
It is unprecedented theft of the utmost conspiracy, whereby their own interests; of affairs' are highlighted aggressively, portraying clearly that they are deliberately hijacking what is the establishment of authors and writers' alike.
Rather, there should be a clear separation, and music should only be applied if appointed by the theatre companies themselves, as part of their production, rather the musical outlet, saw a open opportunity to deliberately hijack the theatrical arts' with means' of accumulating funds'.
Music should be performed as and on an orchestrated stage of events' in their proper context, and clearly, they are exploiting by means' of money campaigning, authors' of all varied degrees'. I mean, who wants' to see a theatre production, if a musical-hijacking version is on offer.
It is disgraceful that the arts' of orchestrations' can get away with this damned right liability act of stealing from the other theatrical out lettings' of author and play-scriptwriter associations that have been established with well founded links, for historical years of entertainment.
I reserve all rights' of my own obtained commentary of the litigation's act, over my subsequent statements' of true claims' of the liability act that has been miss-used and miss-appropriated by the orchestrated musical industry of arts', with clear etiquette's' of speech, and clear understandings', for people to recognise theft in it's original forms of condition of puppetry.
If audiences across the board boycott the musical-performances', then well established actors', who are famed across the board, will entertain on stages' of effect, of the masses for people who love theatrical arts. Try it and see.
