
Next workshop (part 1: The World and the Want) will be a Sunday October 27th!
Click here for details of workshop
A 3-part workshop for writers, directors and producers exploring the traditional structure and dynamic interplay of an effective libretto and score. We will examine successful musicals, discuss basic dramaturgical principals and why they work, and hear presentations of submitted new works and works-in-progress. A panel of producers and writers will evaluate how successful the songs and scenes presented are in fulfilling their purpose. Past panelists have included Ken Cerniglia and Jane Abramson of Disney Theatricals; Ryan Bogner of RKO Stage; producers Michael Alden (Bat Boy, Grey Gardens, The King's Speech on stage), Doug Denoff (Nice Work If You Can Get It, upcoming Peggy Sue Got Married, Just Believe), and Tom Polum (The Toxic Avenger, Dirty Rotten Scoundrels, All Shook Up); dramaturg Nancy Golladay of the BMI Workshop; composer/lyricist Skip Kennon (Herringbone, Don Juan DeMarco, Time and Again), former Artistic Coordinator of the BMI Lehman Engel Musical Theatre Workshop and teacher for two decades; producer Jim Kierstead (Pretty Woman, American Son, Ain't Too Proud, Kinky Boots, Pippin, Waitress); Jim Morgan, producing artistic director of the York Theatre Company; and legendary Tony-winning lyricist Sheldon Harnick (Fiddler on the Roof, Fiorello, She Loves Me). Facilitated by TRU literary manager Cate Cammarata and executive director Bob Ost.
Each workshop will accept up to 10 writing teams and/or producers who will share works in progress and get feedback from the panel. Cost is $100 total for non-members, $85 for TRU members. Audience members will also have a chance to offer their observations, participate in discussions and network sessions and enjoy refreshments. 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).
Click here for quotes about this workshop.
FEEDBACK WORKSHOP #1:
THE WORLD AND THE WANT
Submit up to the first 20 pages of your script in which you introduce the world of your show, and the main characters and their wants – plus MP3s of the songs within only those pages. We will focus on two main aspects: 1) the opening number (or any number that invites the audience into the world of the show); and 2) the songs and scenes in which you introduce your characters. 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.
FEEDBACK WORKSHOP #2:
CONFLICT AND OBSTACLES
Submit 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. 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" is in workshop #3).
FEEDBACK WORKSHOP #3:
RECKONING AND RESOLUTION
Submit the section of your show in which we head towards the summing up and conclusion of the plot and the resolution of the characters' wants– plus MP3s of the songs within only those pages. Also send a concise synopsis of the preceding action of the show, and how it leads to the resolution in the section presented. We will focus on three main aspects: 1) songs that express the resolution of a character's "want," or the overcoming of obstacles, and how it leads to a final choice; 2) "eleven o'clock numbers," the big dramatic show stopper that sums up the (usually) main character's journey; 3) the finale, an effective and emotionally satisfying way of concluding your story and leaving the audience satisfied.
WHAT PEOPLE SAY ABOUT THE WORKSHOP

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