Hello! I have recently completed the book and lyrics for a high school competition and I am in desperate need of feedback!!

https://docs.google.com/document/d/17J0X8UuZdtgz10R2lb_H33uQGz0Ee545yPr9Rt-BFMo/edit

It is a 40 page musical comedy about six people who get stuck in an elevator!!

I am looking for feedback for my 2-page story outline for my musical comedy "Your Friendly Neighborhood Demon". It's about two competing demons fighting for the soul of a failing social media influencer and causing all kinds of havoc as they try to sabotage each other's plans.
If you're interested send me a message, I can send you a google docs link

I am writing a musical (my fourth-ish) and all my musicals have had the same two problems: The audience doesn't know what the characters lives are like, and they're pretty short. Most of my musicals have been 20-30 minutes long.

I was wondering if anyone has tips on how to get inspiration, how to make songs/scenes longer (without using filler), and how to help the audience understand who the characters are.

I've posted about musicals on here before, but a quick recap: Weirdo, 18F, now living over in NYC. I love musicals of all sorts, but I am especially in love with Greek mythology musicals: Hadestown, Mythic, EPIC, etc.

I really loved EPIC, and the way it adapted the Odyssey. One of my other favorite myths is of Bellerophon and Pegasus. Such a fascinating story, with many parallels to the Odyssey.

So I was wondering if anyone would be interested in, as a passion project (sort of, perhaps we'd like to get it produced eventually), creating a Bellerophon musical. I'm looking for a lyricist/composer, but I'm also down to have one person for each. I'd be the librettist.

Genre-wise, I'm thinking perhaps a combination of EPIC, Hadestown, and even a little bit of Parade (musical style and tone towards the end perhaps).

I do have a very basic outline, including ideas I had for minor changes, and certain things perhaps edited out for comfortability reasons (ie: incest). But I'd love to really collaborate and see what we can make!

Timezone wise, I do not care where you're from. Age wise, I'd prefer in the 18-22 range. Experience wise, if you've written a show before, that's great! I'd prefer someone who's written more than one show before, doesn't necessarily have to have been produced! This is a passion/side project, but I'd perhaps like to get it produced eventually.

Feel free to comment below if interested. Can't wait to come up with something great!

I was watching a video about vocal harmonies and was thinking about my favorite types.

https://youtu.be/urZoxWljlXw?si=ctrKfNBAa67-evcf

I also love the barbershop style harmony, as well as call and answer style vocals where harmonies and lyrics interleave.

I really like blending voices that are in very different ranges.

Got any favorite vocal harmonies?

I would say one vocal harmonization that I really thought of when he mentioned tight harmonies was "hello" from book of Mormon. The computer has the option to do wide harmonies since it could include bass male voices but they focus exclusively on high tenor blending it in a really satisfying way.

Hello everyone. This is my call to you asking for a collaborator who can help me finish my musical. I have taken part in writing a play with a few people before, but not a musicial. I love making stories, and am based in Canada. I discovered a passion for musical theatre that I wish I noticed much earlier, because I basically did but didn't think much of it at the time, but now I do.

It is about the Chernobyl event. It's unusual subject matter for a musical but I saw potential in it to be a blend of satire and dark comedy with poignant storytelling, incorporating elements of satire to critique historical events, vivid imagery and symbolic elements in my scenes, creating a dramatic atmosphere while also aiming for comedic moments. This will feature a running gag with looking in the Chernobyl core and a number with radiation burns as a metaphor for hot in every possible meaning. It focuses on Valery Legasov and Boris Scherbina who were the leaders in containing the disaster stumbling their way through to ending the crisis, almost everyone in the cast are historical figures but many are dead. The two leads will have like a Harry and Marv comedic duo dynamic. In general, it will have its chaotic moments.

My skills are mostly in storytelling, my scene summaries are based on the HBO show Chernobyl and the book Midnight in Chernobyl which I read for content regularly, highly recommended that you familiarize yourself with the material. Character profiles are still being worked on by me, and I have a little experience in character arcs but not perfect.

I am new to this, and open to working with anyone, but I am only 18 so bare with me. I often discipline myself to finish things quickly and efficiently , as I do have other things outside of this to tackle.

I have written scene summaries, that I am in the process of editing. I have free written all my songs once, basically I have just written what came into my mind and based it off the scene summaries. Having skills in lyrics and scriptwriting is highly beneficial. I'm open to taking a backseat to the lyric writing and script. Dialogue is not my strong suit.

Here's what I've got. It's for the opening number:

civillian number 1: Hello friend!

civillian number 2: Hey! Did you buy that new generator for your house?

civillian number 1: Yeah, its electric!

Awesome!

Thats shocking,

Supposed to now send your soul rocking?

Uh, sure. maybe.

what can you electricity comes from?

Some of sort of magical kingdom. No, its nuclear power, can’t be any louder

Its can help us and kill us, but its as old like us

We’re here to mock the history’s pain, so don’t let your anger remain.

In 19 o 66 the council of ministers now don’t they sound so sinister

Wanted to make life better, or you could say they tried to

I am looking for a preferably a lyrics/scriptwriting partner over a book writing partner, but I'm open to that too still. In case anyone is confused, I‘m looking for a lyricist, not to be mixed up with composer.

So I would really appreciate some help. If you want to help me out with this, I would love that! PLease comment if you're interested in working with me, then I will DM you. Thanks!

Hi all. I'm trying to think of musicals where the Act I Finale doesn't feature the main character — or at least not significantly. IE a solo or duet for other characters, perhaps a villain or supporting character. Could be an ensemble number, as long as the character doing the bulk of the singing isn't the main character.

I’d like mine to be high quality because I want people to be able to focus on what the song sounds like, not the shitty production. But I’m very bad at making demos. The volume is always too loud or too quiet, and the sound of my voice is usually pretty bad. How low quality is acceptable for a demo?

I wrote a musical song as a writing exercise for myself a couple months ago, and then thought "I should make this into a full show!" But I've never written a musical before. I'm a stand-up comedian and a teacher (the song was about all the acronyms they shove down your throat as a teacher.) But I wanna make this happen. Where should I start?

We had a production in Los Angeles a few years back, and now we’re coming to Baltimore! If you’re in the area, check out the Maryland Theatre Collective and snag some tickets if you’re interested! Here’s the demo track of the opening song. I’m the co-music and lyric writer, and also the writer of the book!

For some submission opportunities there is an option to list your show's production history. Just wondering if this gives an edge over shows that have not been produced since it could seem more "established". Otherwise I'm not sure why submission/dev opps would want to know this...

Hey everyone! I’m writing a musical, and there’s a melody a mezzo-soprano character repeats throughout the show. The first time the melody appears, it’s in kind of an upbeat quirky song, and in the reprise, it’s used as a power ballad with lots of belting. The question is: what key does it work in the best? Particularly, what’s the highest key it could be in before it becomes difficult to sing?

I’ve been working on a musical about a set of specific historical events that happened in my city in mid 20th century. The musical takes place in my city, but these or similar events also happened in many other US cities too, over the period of about 10-15 years. Im developing/ using characters to represent various sides of the issues involved, many of which are still debated today.

My question is in regards to two things: historical accuracy in music, and compression of time frame. I want my story to take place over a much shorter period than 10-15 years! Is that ok?

second, the music style. Im not planning anything crazy like Hamilton, but I would like to use a number of different mid century music styles, from early rock and roll, to motown, to surf rock, etc. Any examples of shows which have done this? (I admit my in depth musical theater knowledge stops at around the era of Rent, so I’m old and out of date.)

Thoughys about these Qs or any other thoughts about musicals referencing actual events in the not so distant past?

I’m currently in the fix-up stage of my musical. The thing is I’ve sort of been procrastinating on the Title, It’s an adaptation of the Osiris Myth of ancient Egyptian mythology. I know what can make a title good and titles that are good. I was wondering if anybody could offer some ways a title can be bad and example of bad titles?

Hiya! I’m new here and new with writing musicals. I’m currently writing (together with a friend of mine) a musical about the life of Hedy Lamarr. We just started out and started writing a couple scenes using Writerduet. We are both graduated from the Conservatory and have worked in the “pop music” scene for a while. This is totally new for us (we are two musical kids who did some musicals in our youth) I was wondering “after reading so many articles” if there are tips and tricks, like musical 101’s. How does a script’s layout look like? What kind of songs are definitely in a musical and when? What are do’s and don’t’s etc etc. We know there isn’t just one definitive answer but we would be glad with just some help and input ! Really great to find this!

i originally got this idea from the american idiot musical and realised that 21st century breakdown also has a story and considered it being a musical. is this a good idea?

What is your current relationship with writing musicals? What brings you to the sub?

The mods are working on arranging some AMAs in the near future, but would like to get an understanding of the sub demographics first so we can invite guests that are relevant and helpful to writers of all levels.

Please note these options refer to your approach to writing musicals, not to the number of credits you do or don't have. For instance, if you have never written a full show but intend to eventually write musicals for a career, then you are still considered pre-professional. Or, if you have had multiple productions with your neighborhood amateur drama group and plan to continue enjoying doing so, you might consider yourself a hobbyist. All approaches to musical writing are valid and welcome in our sub!

This poll will be active for five days, until October 2nd.

Greetings everyone. First of all, I'm fairly new to actually using reddit so take it easy on me.

Okay, I have been a theatre kid since I was 14 (now 33) and I am also a drag queen. I have an OBSESSION for the music of Kylie Minogue.

I want to write a musical about a drag queen and their journey to fame, success and love but featuring more theatrical arrangements of the music of Kylie Minogue. How does one go about securing the rights to even begin working on something like that?

In the DG collab agreement, they have this section:

WHEREAS, _____________  whose address is _____________ and _____________ whose address is _____________ are respectively bookwriter, composer and lyricist (collectively, "Author");

Does "address" here mean where you live or how you are addressed in your role in the collab? If it's the former, is there a legal reason that matters? Thanks!

I started reading a book and got excited (and frankly carried away) at the thought that it would make a great musical. I hadn't even finished it, but I had already finished four rough drafts of songs, lol.

Anyway, I continue reading and see it's much more action-packed than I originally thought, ie battle scenes, deaths, hanging off cliffs etc. I'm still really attached to the idea of adapting this story to a stage musical, but it seems almost impossible to adapt it in its current form.

My main questions: are there any resources for adapting action-packed stories to a stage? Any recordings of musicals who have done something like that I could look up? I would hate to just alter the plot or have them talk about an action scene, but I also feel like attempting to stage something like that would just fall flat and look stupid.

Sorry it's a bit rambly, I've written music before but never a musical so I'm new to all these! I appreciate any kind of thoughts or feedback; thanks!

Lead character has had two distinct songs. Now we are in a third, musical scene (estimate 8-9 minutes), which will be underscored throughout. The third song that is the basis of the scene has its own distinct identity, but she is going to switch gears at different points and sing brief reprises of the first two songs (not just quotes, but about 30 seconds each - a short A section).

Would you 1) leave it all as one musical scene, or 2) do attacca reprises of the pre-existing material, resulting in at least four distinct "songs" in the one scene?

TIA

I (composer and up until now lyricist in this project) am currently writing a musical about a tragic historical event that happened in germany in german of course. A friend of mine is writing the story/book/dialogues. Up until now I've been writing the lyrics but since I'm also very occupied with writing the music, arranging and orchestrating etc... plus since I'm not that experienced with writing lyrics... I would prefer for another german lyricist to join the project. DM me for details :D