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Event Details
  • Feedback Workshop #1
    December 9, 2018
    10:00 am - 6:00 pm
Available Tickets Price Qty*
-TRU submission fee $10.00 (USD)  / ticket  
-Non Member submission fee $20.00 (USD)  / ticket  
-TRU new participant, balance $75.00 (USD)  / ticket  
Goes On Sale
Dec 01, 2018
-TRU returning participant, balance $55.00 (USD)  / ticket  
Goes On Sale
Dec 01, 2018
-Non-member new participant, balance $80.00 (USD)  / ticket  
Goes On Sale
Dec 01, 2018
-Non-member returning participant, balance) $60.00 (USD)  / ticket  
Goes On Sale
Dec 01, 2018
-Additional Collaborator $25.00 (USD)  / ticket  
Goes On Sale
Dec 01, 2018
-Observer fee, TRU $35.00 (USD)  / ticket  
-Observer fee, non-member $55.00 (USD)  / ticket  

*Please note that a maximum number of 4 tickets can be purchased for this event per order.


2018 – FEEDBACK WORKSHOP #1: THE WORLD AND THE WANT

Sunday December 9th, 10am to 6pm
Tada Rehearsal Studio, 15 West 28th Street, 3rd floor
New York, NY 10001
Submission deadline: Monday 11/26/18

This workshop is dedicated to fostering a conversation about musical theater structure not only for writers but also for producers, directors and everyone involved in the creation and production of new works. Each workshop will accept up to 10 writing teams and/or producers who will share works in progress and get feedback from a panel of expert evaluators. Audience members will also have a chance to offer their observations, participate in discussions and networking, and enjoy coffee and refreshments.

Click for application as a writable PDF:  howtowriteamusical1edit - fill it out, and email to TRUPlaySubmissions@gmail.com to sign up. Submission fee is $10 for TRU members, $20 for non-members. Submission deadline Monday, 11/26, 2018. 

**If accepted for presentation, in addition to the submission fee there will be a participation fee of $80 ($75 for TRU members), which includes two seats for the entire day workshop as well as a 20 minute presentation-plus-feedback slot. Space is limited. Any additional attendees from the musical team (including music director, additional collaborators and cast members) who wish to observe the entire workshop must reserve in advance and will be charged $25 per person. There is an additional price break for writers who presented the same show at previous parts of the How to Write a Musical workshops.

Writers or producers are invited to submit no more than the first 25 pages of a show you are working on, plus mp3s of the songs within those pages.** In "Part 1: The World and the Want" we will focus on two main aspects of your show: 1) the opening number (or any number that invites the audience into the world of the show, and sets the storytelling rules); and 2) the songs and scenes in which you introduce your characters and invite us to follow their journey. We will discuss "I want" songs, "I am" songs and "I feel" songs, and the function of each, with special attention to the way they move the action. In addition, we will continually explore the delicate balance between script and song.

Our professional panel of commercial producers, directors and writers will include:
  • Cheryl Davis, Kleban and Larsen Award winning librettist and lyricist (Barnstormer), Audelco Award winning playwright (Maid's Door);
  • Nancy Golladay, literary consultant (NY Shakespeare Festival, O'Neill Conference, more), moderator of the BMI Librettists' Workshop; 
  • Skip Kennon, composer/lyricist (Herringbone, Don Juan DeMarco, Time and Again), former artistic coordinator of the BMI Lehman Engel Musical Theatre Workshop and teacher for two decades;
  • Jim Kierstead (Pretty Woman, American Son, Ain't Too Proud, Kinky Boots, Pippin, Waitress);
  • Jim Morgan, artistic director of the York Theatre Company;
  • Bob Ost, executive director of Theater Resources Unlimited, and TRU Literary Manager Cate Cammarata will facilitate.

The TRU Selection Committee will determine what song and scene from your show we want you to present, although you may tell us your preference. We will provide a room with a piano, refreshments, panelists, and an audience.

Those selected for presentation are required to bring performers and accompanist. (We can make suggestions for locating talent.) 

Those not selected will be invited and encouraged to attend the workshop as observers. The price is $55 ($35 for TRU members). We will be promoting this to writers, directors and producers, with the hope of generating a useful conversation to help us all develop the skills to create successful works for musical theater.

All writers are expected to be in attendance for the entire day, or at least the full half day session in which your work is presented.

Schedule

10:15 am to 10:45 am - Discussion: how do you engage an audience in the world of your show? What constitutes an effective opening number? What does the audience need to know?

11:00 am to 1:30 pm - Five writing teams will explain their work’s overall concept (in 30 seconds or less) and present up to 12 minutes of the opening scene and song. After each presentation, panelists will provide feedback.

LUNCH BREAK
(On your own. Great time to make new friends in the industry!)

2:30 pm to 3:30 pm -
Discussion: How does the audience know whose story to follow? Who is the engine of your show? Do all of your characters have "wants"? Do they need to? Panelists will comment and invite additional audience feedback.

3:30 pm to 5:30 pm
- Four writing teams will explain their work’s overall concept (in 30 seconds or less) and present up to 12 minutes that include the main characters' “I Want” song or songs. After each presentations, panelists will provide feedback.

**All writers are expected to be in attendance for the entire day, or at least the full half day session in which your work is presented.

Panelists
  • CHERYL DAVIS

    received the Kleban Award as a librettist for her musical Barnstormer, (written with Douglas J. Cohen) about Bessie Coleman, the first Black woman flyer. The show received a Jonathan Larson Award through the Lark Play Development Center. Her play Maid’s Door received great reviews, won seven Audelco Awards, and was a finalist for the Francesca Primus Prize. Her play The Color of Justice (commissioned by Theatreworks/USA), received excellent reviews in the New York Times and Daily News, and tours regularly. Her musical Bridges, which was commissioned by the Berkeley Playhouse, received its world premiere in February 2016 to great reviews and three award nominations from the San Francisco Bay Area Theatre Critics Circle. She received a Writers’ Guild Award for her work on “As the World Turns”, and was also nominated for a Daytime Emmy Award. Her work has been read and performed internationally, including at the Cleveland Play House, the Actors Theatre of Louisville, and the Kennedy Center.  She is the General Counsel of the Authors Guild.

  • JIM KIERSTEAD

    is a two-time 2013 Tony® Award-winning producer of the Broadway, touring, Toronto, and London productions of Kinky Boots and the revival of Pippin.  He also was involved with the international hit musical Matilda on Broadway and on tour and is a co-producer of the 2016 Broadway musicals Waitress and Natasha & Pierre and The Great Comet of 1812 starring Josh Groban.  He has been a co-producer of the Broadway productions of The Visit (Tony nominated), You Can’t Take It With You (Tony nominated), Side Show, It Shoulda Been You and Rocky.  Jim has worked in New York theatre since 2000 investing and raising money for shows including Something Rotten, The Glass Menagerie, the revival of Hair (Best Revival), American Idiot, The Addams Family, Catch Me If You Can, among others. Jim began his career by developing and producing the critically acclaimed Off-Broadway premiere of Thrill Me – The Leopold & Loeb Story (nominated for Drama Desk and Outer Critics Circle Awards for Best Musical in 2005) and produced its original New York production in 2003.  He founded his production company Kierstead Productions, Inc. in 2004.  In 2010, he produced the Off-Broadway premiere of Yank! – A World War II Love Story.  Jim has been an Executive Producer on the films Between Love and Goodbye, Kiss Me, Kill Me, and the upcoming Wakefield starring Bryan Cranston and Jennifer Garner. Currently, Jim is developing a new musical entitled Unexpected Joy with book & lyrics by Bill Russell (two-time Tony® nominated for Side Show), a play entitled Cover by Bill McMahon, and produced The Dodgers by Diana Amsterdam which had its World Premiere production at The Hudson Theatre in Los Angeles.  Jim is on the Board of Directors of The York Theatre Company and The New York Theatre Barn.

  • NANCY GOLLADAY

    has served as a literary consultant with the New York Shakespeare Festival, Paul Sills, the O'Neill Playwrights Conference, Ellis Rabb, Warner Brothers Films, Punch Productions, the Nederlander Organization, Tenterfield Productions, the La Jolla Playhouse, the Stratford Shakespeare Festival, and Davenport Theatrical. Nancy was actively involved in the founding of the U.K.'s Book, Music, and Lyrics (BML) Workshop, an evolving group focused on the development of musical theatre writers and choreographers. She was an invited speaker at Mercury Musical Developments writers' conference in London, and appeared on the original Dramatists Guild "Art of the Synopsis" panel in New York. Nancy has worked for many years on the Drama League, Drama Desk, and Tony-honored BMI Lehman Engel Musical Theatre Workshop as a member of the faculty and Advisory Committee. As Moderator of the Librettists Workshop, she has recently created a popular program of in-house table readings of its members' new projects.

  • SKIP KENNON

    was the overall Artistic Coordinator of the BMI Lehman Engel Musical Theatre Workshop and the teacher of the first year there for two decades. He wrote the music for the one-man musical Herringbone (Playwrights Horizons - starring David Rounds, Hartford Stage - starring Joel Grey, Edinburgh Festival, Philadelphia's Prince Music Theater, Chicago's St. Nicholas Theater, 2007 season opener at Williamstown Theater Festival - starring B.D. Wong), the music for Here's Our Girl (workshopped at the New York Shakespeare Festival/Public Theater), and the music and lyrics for the musical version of The Last Starfighter (Storm Theatre, Village Theatre Festival of New Musicals - summer 2006, New York Musical Theatre Festival readings - fall 2006), Blanco (Goodspeed Opera House at Chester, National Alliance for Musical Theatre, National Music Theater Network), Feathertop (WPA Theater, Pennsylvania Stage Co.), and Time and Again (Manhattan Theatre Club, San Diego's Old Globe Theater, Eugene O'Neill Center National Music Theater Conference). Kennon also wrote the music and lyrics for the one-act musical Plaisir d'Amour (book by Terrence McNally), which was produced at New York's Triangle Theater and seen in workshop at Circle Rep, as well as the music for the one-act musical Afternoon Tea (book & lyrics by Eduardo Machado), which was performed at Theater Row Theaters in 2005 by Ed Harris and Amy Madigan. He was a classical music critic at the Hollywood Reporter for five years.

  • CATE CAMMARATA

    is a producer, director, freelance dramaturg and writer in NYC and is the Associate Artistic Director for Rhymes Over Beats Hip Hop Theater Collective. Cate has produced The Assignment off-Broadway and My Father's Daughter with Ursula Rucker at LaMaMa for Rhymes Over Beats. Regionally she produced My Life Is a Musical at Bay Street Theater and has directed many readings of new work in NYC. She is the Literary Manager for Theater Resources Unlimited (TRU) and holds a BFA in Acting/Directing from Syracuse University and an MFA in Dramaturgy at SUNY Stony Brook, where she teaches Theatre Arts. Her latest book, "Contemporary Monologues for a New Theater," has just been published by Applause Books. catecammarata.com

  • BOB OST

    While still a senior, his one-act Beast was produced by Bob Moss in the first season of Playwrights Horizons. He went on to write book, music and lyrics for the off-Broadway revue Everybody’s Gettin’ into the Act at the Actor’s Playhouse, and Finale!, Grand Prize winner in the 1990 American Musical Theater Festival Competition (presented at NAMT) and the 1992 New American Musical Writers Competition, and a finalist at the O’Neill Music Conference in 1989. More recently his musical Angel in My Heart won Best Musical in the 2014 Fresh Fruit Festival. He won the 2011 New Works of Merit Playwriting Competition for his play Breeders, previously a finalist at the O'Neill, as well as a selection of the TRU Voices New Plays Reading Series. The Necessary Disposal was a 2010 finalist in the Maxim Mazumdar New Play Competition at the Alleyway Theatre in Buffalo, has been a finalist in three other national competitions, and was part of the Shotgun Productions New Play Reading Series and the Oberon Theatre Reading Series, both in NYC; his one-act A Glass of Water was part of the Lovecreek Festival, HomoGenius Festival, Downtown Urban Arts Festival; other one-acts have been showcased all over New York. He won a 2004 OOBR Award for the review "Songs Are Like Friends", and is a 3-time MAC nominee. While he was producing his own musical revues at cabarets around Manhattan he discovered he could combine his artistic talent with the business skills he was picking up in the advertising world. The idea of Theater Resources Unlimited was born, with the help of co-founders (and  fellow writers) Gary Hughes and Cheryl Davis in 1992. He has gone on to produce musicals Civil War Voices and Rip in the Midtown International Theater Festival, and last year's classic Chinese musical, Romance of the Western Chamber.

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