PRESENTED IN ASSOCIATION WITH CREATETHEATER.COM
Sunday 6/26, noon to 7pm eastern time
Reformatted to virtual presentation on ZOOM
Submissions now closed
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, and participate in discussions.
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, so it is important that you present a continuous portion of scene and song from your show.
- Due to the virtual issues of lag and latency, we will need writers to record and edit any musical presentations that involve more than one singer. Music director Benjamin Doyle will be available to play and record your tracks, as well as edit duets, trios and ensemble numbers into a recorded format that we can play for the feedback panel and the room, and he is offering his services at a very affordable rate.
- You may, of course, use your own music director, editor or other resources to help you produce a professional presentation.
- We do NOT need a recorded presentation when you submit, only when you are accepted.
- 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. Submission fee is $20 ($10 for TRU members).**
Click for application as a writable PDF:
fill it out, and email to TRUPlaySubmissions@gmail.com - submission fee is $10 for TRU members, $20 for non-members. Submission deadline Monday, 6/6/22.
**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 places for the entire day workshop as well as a 20-30 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. For clarification: you presentation is limited to 8-12 minutes including a song plus scenes leading into and/or out of the song. The remaining time is for panel feedback.
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), general counsel for The Author's Guild;
- Paul Gordon, composer/lyricist (Broadway Jane Eyre; off Broadway Daddy Long Legs; regional Emma; virtual Estella Scrooge);
- 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;
- Tamra Pica, London and off-Broadway producer
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 zoom room, access to a music director and editor, actor and director suggestions, panelists, and an audience.
Those selected for presentation are required to create their presentation using a music director providing a solid piano track, and zoom-savvy talent. A sound engineer will be needed to help mix the separate tracks for each voice. You may have a solo number performed "live" with a track, but make sure your singer has adequate virtual tech set-up and a pre-recorded track that they can play from the location where they are performing. We will also have a tech advisor to help you.
Those not selected will be invited and encouraged to attend the workshop as observers. The price is $55 ($35 for TRU members). You submission fee will be applied to the Observer fee. 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.
12:00-12:15 - check-in
12:15 pm to 12:45 pm - 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?
12:45 am to 3:15 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/ZOOM BREAK (Stretch, rest your eyes)
4:15 pm to 5:00 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.
5:15 pm to 7:15 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.
CHERYL L. 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.
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.
was nominated for a 2001 Tony Award for composing the music and lyrics to the musical Jane Eyre. He won the 2015 Jeff Award for Best New Work for his book, music and lyrics for Sense and Sensibility, commissioned by Chicago Shakespeare Theatre. He is the recipient of the 2009 Ovation Award for his music and lyrics to Daddy Long Legs which has had productions all over the world, and was nominated for 2 Drama Desk Awards, an Off-Broadway Alliance Award and 3 Outer Critic Circle awards. Paul has been an advocate for capturing theatre on film while creating new revenue streams for theatre artists. His company, StreamingMusicals.com, has been on the forefront of this movement and his musicals Pride and Prejudice, Emma and No One Called Ahead can currently be streamed on Amazon Prime and other online platforms. Estella Scrooge: A Christmas Carol with a Twist was released in 2020 on StreamingMusicals.com. Knight’s Tale, written with John Caird, opened at the Imperial Theatre in Tokyo, 2018 and is slated for its second production in 2021. His other shows include: Being Earnest, Analog and Vinyl, The Front, Juliet and Romeo, Sleepy Hollow, The Circle, Ribbit and The Sportswriter. In his former life, Paul was a pop songwriter and wrote several number one songs. paulgordonmusic.com
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.
producer and casting director for Write Act Repertory. Tamra's theater and television work spans 33 years and over 250 productions as a prop designer, AEA Stage Manager, producer and casting director of plays, musicals, dance and ice shows. She produces both Off Broadway, as well as, managing the Los Angeles theater presence for Write Act. Recent credits include the long-running Frankenstein, Wicked City Blues, and Swing. Other credits include: Lili Marlene, Caldwell’s Bomb for the New York Venus/Adonis Theater Festival, Renewal, Your Name on My Lips at Theater for the New City and the long running musical Fabulous! Queen of the New Musicals where she served as a casting director and producer. Alongside theater, Tamra’s work production, casting, and development television work can be seen for companies such as Disney, Sony, Cartoon Network, NBC Studios, TBS, CBS, MTV, ABC and FOX. She currently works on the animated Disney series Mira, Royal Detective.
is an Off-Broadway producer, director and dramaturg in NYC, dedicated to the development of new plays and musicals. She is the Founder and Executive Producer of CreateTheater's 2022 New Works Fest, the Associate Artistic Director for Rhymes Over Beats Hip Hop Theater Collective and has been the Literary Manager for Theater Resources Unlimited (TRU) for ten years. Off-Broadway: The Assignment, My Father's Daughter. Regional: My Life Is a Musical (Bay Street Theater). Cate's company CreateTheater, has been helping writers develop and produce new work since 2016. During the shutdown of 2020-2022 CreateTheater developed and/or produced more than 70 shows with online readings, workshops and dramaturgical guidance. For this work Theater Resources Unlimited (TRU) has honored her with the TRU Entrepreneur of the Year award in 2022. Cate holds an MFA in Dramaturgy from SUNY Stony Brook and is an Associate Professor of Theatre Arts at CUNY Baruch College. www.CateCammarata.com www.CreateTheater.com
While still a senior at U. of Pa., 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 the classic Chinese musical, Romance of the Western Chamber.