Sunday February 23rd, 10am to 6pm - Submission deadline Wednesday 2/12
Studios 150, 150 W. 46th Street, 7th floor
Just wanted to send you guys a quick thank you for all the amazing feedback I got during the first leg of the feedback workshop. I’ve been working hard on my submission materials for part II but also revising some things in the beginning of the show in response to some of the suggestions during the first session! ~Sam Sultan
Just by presenting one song at the last workshop, it was greatly improved by the specific comments the panel made. The main character's need and "want" was made so much clearer to the audience just by the way the panel suggested I highlight it musically. So many thanks for that! ~Tom Dudzick
TRU was a very important step in getting us [to NYMF]. I am hoping to apply to the TRU workshops again in the future - they were so so helpful - you do such a good job there! ~Larry Little
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. Submission fee is $10 for members, $20 for non-members. If accepted, fee will be applied to a participation fee of $100 ($80 for TRU members).
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. The cost for non-participants to attend for the full day, to observe the presentations and be part of the discussions, is $55 ($35 for TRU members). Download the application, fill it out, and email to TRUStaff1@gmail.com to sign up.
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 Wednesday, February 12th.
**If accepted for presentation of 10-15 minutes including one song and scene, plus feedback, there will be a participation fee of $100 ($80 for TRU members), which includes 2 seats for the entire day workshop as well as your presentation 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.
Our professional panel of commercial producers, directors and writers will include:
- Ken Cerniglia, former dramatuyrg and literary manager Disney Theatrical Group;
- 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.
Bob Ost, executive director of Theater Resources Unlimited, and TRU Literary Manager Cate Cammarata will facilitate.
Writers (or producers!) are invited to submit no more than 25 pages of a show you are working on. We want to see the section of your show in which conflict and obstacles arise – the plot complications – plus MP3s of the songs within only those pages. Also send a concise synopsis of the opening in which you introduce the world of your show, and the want of your characters and how it prepares us for the conflict in the section presented.
In the workshop we will focus on three main aspects:
- 1) Songs that express differing points of view, or conflict;
- 2) "Turnaround Songs" in which a character changes his course of action;
- 3) The climactic moment (sometimes the first act finale) that drives us forward into the resolution (note: "resolution" will be in workshop #3).
We will discuss "I am" songs and "I feel" songs, and the function of each, with special attention paid to the way they move the action. In addition, we will continually explore the delicate balance between script and song.