Event Details
  • November 19, 2017 - November 20, 2017
    10:00 am
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
Nov 01, 2017
-TRU returning participant, balance $55.00 (USD)  / ticket  
Goes On Sale
Nov 01, 2017
-Non-member new participant, balance $80.00 (USD)  / ticket  
Goes On Sale
Nov 01, 2017
-Non-member returning participant, balance) $60.00 (USD)  / ticket  
Goes On Sale
Nov 01, 2017
-Additional Collaborator $25.00 (USD)  / ticket  
Goes On Sale
Nov 01, 2017
-Observer fee, TRU $35.00 (USD)  / ticket  
-Observer fee, non-member $55.00 (USD)  / ticket  

*Please note that a maximum number of 10 tickets can be purchased for this event per order.


2017 – FEEDBACK WORKSHOP #1: THE WORLD AND THE WANT

Sunday November 19th, 10am to 6pm
Nola Studios, 244 W. 54th Street, 10th floor

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, November 6, 2017. 

**If accepted for presentation, there will be a participation fee of $100 ($85 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:
  • Ken Cerniglia, dramaturg and literary manager of Disney Theatrical;
  • 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.

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
  • KEN CERNIGLIA

    dramaturg and literary manager for Disney Theatrical Group, has developed over forty shows for professional, amateur and school productions, including High School Musical, The Little Mermaid, Beauty and the Beast Jr., Camp Rock, Newsies and Peter and the Starcatcher, a prequel to Peter Pan that won five Tony Awards. He holds a Ph.D. in theatre history and criticism from the University of Washington and presents and publishes his research internationally. Additional credits include co-founding Two Turns Theatre Company and producing The Turn of the Screw in a haunted house museum, working with Seattle’s Fisher Ensemble to create PSYCHE, a multimedia chamber opera, and with American Records Theatre Company on ReENTRY, a documentary play about U.S. Marines and their families. 

  • CHERYL DAVIS

    was a recipient of the Ed Kleban Award for her work as a librettist, and her musical Barnstormer, written with award-winning composer Douglas J. Cohen, received a Jonathan Larson Performing Arts Foundation Award, under the auspices of the Lark Play Development Center. Her play Maid’s Door was produced at the Billie Holiday Theatre received seven Audelco Awards; and was also presented at the 2015 National Black Theatre Festival. Her play Carefully Taught was performed at the Astoria Performing Arts Center. Her new musical, Bridges, was produced by the Berkeley Playhouse in February 2016 and received great reviews, including from the San Francisco Examiner.  Cheryl’s play about the desegregation of the nation’s school system, The Color of Justice, which was commissioned by Theatreworks/USA, received excellent reviews in the New York Times and Daily News, and tours regularly. Her play Winnie the Pooh KIDS was commissioned and is currently licensed by the Disney Theatrical Group; Cover Girls, which is an adaptation of the Bishop T. D. Jakes novel, was produced and toured by ClearChannel Entertainment.   She has written commissions for the Ensemble Studio Theatre/Alfred P. Sloan Foundation Science and Technology Project, the Red Mountain Theatre Company (Mandela and The MLK Project), and the Birmingham Children’s Theatre (Tuxedo Junction, about Alabama Jazz musician Erskine Hawkins).  Bridges was written on commission from the Berkeley Playhouse.  Her play Swimming Uptown has received developmental readings at the Lark Play Development Center, the Abingdon Theatre, and the Classical Theater of Harlem. Her work has been read and performed internationally, including at the Cleveland Play House, the Kennedy Center, and the Edinburgh Festival Fringe. She received a Writers’ Guild Award for her work on the daytime dramatic serial “As the World Turns” and was nominated for a Daytime Emmy Award for her work on that show as well. Her musical Barnstormer, which is about Bessie Coleman, the first Black woman flyer, has received a developmental production at the Red Mountain Theatre in Birmingham Alabama, and readings at the York Theater Company, Stamford Center for the Arts, and as part of Hartford Stage’s “Brand:NEW” Festival; it has also received a BareBones presentation at the Lark Play Development Center and has been presented as part of the National Alliance for Musical Theater’s Annual Festival. Her play Corner Office was a finalist in the Actors Theatre of Louisville’s National Ten-Minute Play Contest. Cheryl is a musical theater librettist and lyricist, and is an alumna of the Advanced Workshop of the BMI/Lehman Engel Musical Theatre Workshop, and the co-founder and Vice President of Theater Resources unlimited.

  • 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.

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