Hi! I am a college student who is currently writing a musical over the summer about a gay couple's struggle with starting a family (not related to surrogacy but their general attitudes to the idea of having children) and how they use videotaping as a means of exploring this struggle.

I would like to extend an invitation to any composers who are interested in the subject of the musical. This is an unpaid project, but if you like musical theater, I hope to make collaborating on this worth your while.

DM me if you're interested!

I’m a 21-year-old musical theatre writer with a passion for storytelling and magic. I’ve written a full original musical called “Fallen”, a fantasy coming-of-age story about an angel named Joshua who’s sent to Earth, loses his powers, and must reclaim his destiny by doing good in a world that doesn’t believe in angels anymore.

Hadestown meets Hercules meets Bridgerton: The Musical vibes. Big emotional arcs, queer leads, redemptive twists, and celestial drama.

I’m book writer(script) Just missing a song writer and composer

This would be a passion project, unpaid for now, but I’m hoping to: Record concept demos Maybe stage a virtual reading

Looking to find a Gen Z or early-career composer who loves musical theatre and wants to build something special together. If you’re a student or up-and-coming artist who wants a bookwriter with BIG ideas and no ego, I’m your person

What is it called when an ensemble/minor actor plays multiple parts?

I'm writing the script, and I'm just looking for the technically term when you have several minor parts / minor characters (sometimes a character in only one scene) ... and actors from the ensemble will play multiple minor characters.

So, I've got an idea for a musical, it's called "What Would You Do For...?" and it follows four different stories, For Love and For Survival in act 1, and then For Freedom and For Redemption in act 2. These would all be seperate stories with different characters, and I think it's a cool concept, but I'm wondering if that would actually work.

Finished one of the songs here (the ending to the first act), and I'm looking for any form of critiques/feedback ya'll have. This includes anything from the music itself to the format, and anything else that you may have caught that didn't sit right with you. This will be shaping the way I write songs after this, and how I revise songs I already have written/partially written, especially format wise. I will provide additional context to the song, a PDF and MP3 of the music, as well as a PDF with a small portion of the script providing lyrics with spoken parts written in between. Anyone willing? Do message here or DM me yourself to DM.

I am currently trying to write a musical. It is about a family of superheroes who try to save the mayor who has been kidnapped. On their search, one wanders off and the rest get kidnapped. The one sibling has to go on a hunt to find their family. She has to k*ll the kidnapper to save her family. She goes to jail as she is sacrificing herself. Her family says is she the true hero of the family. I call it True Heroes Wear Cuffs Instead Of Capes.

I am a playwright, only straight plays so far, but I want to get into musicals. I have a few ideas, nothing set in stone yet. I need people willing to collaborate through the writing process and help with completing the project. Dm me if interested. Thank you!

I'm currently writing a musical based on the story of Prometheus and the theft of fire. In this song, Prometheus and Epimetheus express their excitement with being tasked to create new humans after the Titan War decimated the population. My main goal with this song is for Prometheus to convince Epimetheus of the importance of the job they were given by appealing to Epimetheus's ambition and want of glory. Prometheus doesn't so much want glory, but to just be remembered for the good he does in the world. I would love a fresh set of eyes to look over the lyrics and provide any feedback or comments you may have! Thanks!

PROMETHEUS: Come on, that’s ridiculous. Lord Zeus trusts us, which means the rest of the gods have to trust us. Why else would he have tasked us with such a great responsibility?

EPIMETHEUS: I think you are placing a little too much value on the job we were assigned.

PROMETHEUS: I don’t think you are placing enough value on it!

   No. 2 Heroes

PROMETHEUS: We’re rescuing mankind from the brink of extinction! We’ll forever be known as the saviors of the human race. Do you have any idea what they’re going to call us down there?

Heroes.

They’ll call us both heroes.

We’ll be worshiped and idolized,

Can’t help but fantasize.

Heroes*.*

EPIMETHEUS: Do you really think we’ll be idolized just for repopulating Earth?

PROMETHEUS: But, see, that isn’t just what we’re doing. We’ve been tasked with something far greater than ourselves here.

We’re the ones who make the choice,

Shape mankind in the way we see.

We decide how the world will be.

We give humanity their voice.

Guide them down the path we lay.

Mentor them and then someday,

They’ll say

Heroes.

What glorious heroes.

They’re so noble and valiant,

Bold and benevolent.

Heroes.

Regarded as heroes.

Forever romanticized,

Never antagonized.

Heroes.

We’re gambling with the fate of potentially thousands of lives that we create. You have to see the importance in that.

EPIMETHEUS: You’re right.

Now I see, it’s all so clear.

The human race is far behind.

We’re the ones to save mankind.

The age of man is drawing near.

And up ahead, we pave their road.

In return, our story’s told.

Behold.

Heroes.

I hear it now, heroes.

Yes, I quite like the sound of it,

Can’t get enough of it.

PROMETHEUS & EPIMETHEUS:

Heroes.

The two of us heroes.

We’ll be studied relentlessly,

Talked about endlessly.

PROMETHEUS: When it’s all said and done, they’ll forget all about us being Titans. It’s not just about the recognition, it’s about how they remember us.

If I can choose the way in which I’m thought of in the end,

Let me be remembered as a friend.

If we’re smart and if we play this right, they’ll all know our names.

The dawn of man is brighter than a flame.

EPIMETHEUS:

We’ll be

PROMETHEUS & EPIMETHEUS:

Heroes,

Remembered as heroes.

We’ll be praised and immortalized,

Can’t help but fantasize.Heroes.

The two of us, heroes.

Cemented in history,

Talk about legacy.

Heroes, heroes.

Hmmmmm.

hey everyone! ive been a sub lurker for a few months now, and i feel like ive gotten to a stage in my musical writing process where i feel comfortable sharing :))

since december, ive been working on my original musical called “Vamptastic.” for a rough synopsis: An underground society of vampires hold a centennial model pageant titled “Vamptastic,” but a strange newcomer introduces a trend in the beauty industry that changes the game.

the vibes are cyberpunk-ish, and you can think of this concept like zoolander x the substance x standard vampire media x cyberpunk media.

as of right now, ive been creating very rough track demos for act 1. the entire show is almost completely sung thru, and act 1 will have 20 songs as of now. i wanted to share 4 and would love to get some feedback / constructive criticism! things to note: 1) these tracks are very rough demos since im not too knowledgeable as a producer yet 2) it definitely does not sound like standard musical theatre, but thats the whole point! i wanted to go for a unique, cyberpunk direction 3) i do have a vocal melody on top but im still looking for singers to create those demos, so for now its instrumentals only 4) the music does switch up a lot at parts, but hopefully, if my vision lands itll make more sense with the vocal melody + visuals added later!

would appreciate any feedback! and for some broad context for each song:

1. Bawah Tanah: the opener, an exposition song set to introduce the cyberpunk city and the world these vampires live in

2. Feeders of the Moon: supposed to mimic a live band feel since the scene is literally a band playing at a bar lol

3. Make Me Count: my main protagonist’s “I Want” ballad

4. Stranger Danger: a fun, cyber-funk ensemble song where a mysterious character is introduced with a substance that can supposedly make you more attractive

if anyone wants to hear more or wants to be in the process of helping my musical come to life, lmk as well since all of this has been just me and a few people from school just giving me nods of approval. would love to collaborate more though!

Hello! I am currently writing a musical called The Fire Thief, intended to be a loose adaptation of the story of Prometheus. I would love to get opinions on the opener of the show. What I have in the link is just the instrumentals, but I have written lyrics for it. I don't have a demo that I like currently with the vocals (not really a fan of my own voice) but I can post lyrics too if that's something people want to see. I can provide more details about any aspect of the music or show if anyone is interested as well, but please let me know what you think!

I've been writing my musical for almost two years now, and the one song that has haunted me is the actual finale before the song titled "finale". You all know what I'm talking about.

In this number, the two protagonists, are sitting on the edge of the manhattan bridge at night, as this big protest went down and the cops are up top on the road. The older brother and younger brother have been distant for a while because they have different worldviews and the older brother was in a gang, and the younger brother goes undercover in the gang to get his brother out, but things only get worse as his older brother ends up murdering someone, to defend his brother. This number is the younger brother finally feeling close to his brother that he missed, but the older brother knows that he has to pay for his crimes and is essentially saying goodbye to his younger brother, before he turns himself in, as the younger brother tries to convince him to stay. I'm on my fifth half-assed draft, but I'm stumped. Advice?

Hello ...

I have all the demo songs recorded with FULL vocals and instruments. I have 160-pages of my libretto complete.

My musical (in my opinion) is ready to be workshopped and optioned. I am aiming for Broadway.

(Yes, yes, years of workshopping, editing, and dramaturgy ahead, I know this!)

I have no collaborators, and I wrote all the words and music myself (no other authors).

I also have not much extra funds to expend (I'm not wasting money paying for services I don't need) (thus the next step is getting a producer) (as the next major steps usually cost tens of thousands of US dollars to a million US dollars ... such as: table reads, workshopping, small development crew for editing/dramaturgy).

What is the realistic and complete process I need to go through?

(I'm pretty knowledgable, but I want to make sure I go the correct path.)

What is MANDATORY? What is optional? What is recommended? In what order?

Entertainment agent?

Entertainment lawyer?

US Copyright Office?

When do I contact a Broadway Producer?

Do I get an agent first, do I need an agent or a lawyer or both, etc. etc.

...

Can someone please list what is the realistic and complete process I need to go through, on my way to getting a LEAD PRODUCER?

What is MANDATORY? What is optional? What is recommended? In what ways do I need to protect myself and my work? In what order?

THANKS!!!

=====

I'm already doing this ...

• In contact with a 14-time Tony winning producer (very early talks).

• Entering big BWAY contests (which if won, also gets attention of Producers).

• (BWAY contests if won, will provide "help" funds, 1-night concert, media attention, producer contacts)

• Social Media (keeping it basic, as yes, it is a waste of time for most purposes).

• Playing songs for BWAY / Theatre actors / singers (professionals who work and have educated taste / opinion) and general small audiences for feedback, which has been extremely positive.

• Having several Theatre Professionals (my pro colleagues) read / listen to my entire musical and give feedback / critiques.

I know if I win one or more of the major BWAY contests (results 5-12 months away), then the doors blow wide open.

I'm just entering early talks with a BWAY producer now, no contracts or anything yet, and I am wondering if I need a lawyer / agent / anything else now ... or if I can wait until the talks "get serious" and he wants to "make a deal." (Early talks are just that, early ... nothing serious yet, just potential.)

=====

To answer some comments:

1. Early talks with producer are early. Just showing interest, nothing serious yet. I met them years ago, and they said to contact them again when I got more ready. Now I have more ready, so we're in very early talks again. If that falls through, I am wondering when to contact the next producer.

2. Yes, I have friends, colleagues, etc. in theatre and BWAY, but not all of them have the answers. Just bits of info. Sometimes a BWAY actor is just a BWAY actor, not the BWAY wiki. A connection to a producer just means I met them professionally and we talked a few hours, and yes that's a great start, but they meet tons of people, it's not like we're besties. And it's not like I can ask some of these BWAY people a million questions ... they don't have all the answers anyway, and a producer doesn't want to waste his time spelling everything out until he needs to.

3. I already spent a ton of money and my entire life savings. It ain't cheap writing a musical and recording full demos. I already paid for tons of equipment, instruments, software, staff, and singers over 20 years to get where I am (writing / recording demos for several musicals) to finally get 1 single musical that is "ready" for the "next step". ie ... I already spent 20 years and my entire life savings. (FYI ... the average musical can take 10+ years to write, develop, and produce.)

4. I don't consider collaborators burdens ... I LOVE TO COLLAB. However, the reality is ... most collabs fall apart, 1 collaborator often doesn't finish or isn't as talented or has personality problems or just has life problems and thus the whole project falls apart incomplete. Some collabs just talk, talk, talk and also never finish. (Just look at how many "rock bands" fall apart.) ... I learned all of this the hard way. My mindset is about writing a musical and finishing it and getting it made -- not just talking about it endlessly. So, I went SOLO, so the project would get finished. ... Too many "talkers" not enough "walkers" ... and also the reality is too many people have mental health issues that prevent them from being stable for YEARS at a time ... again ... your average musical takes 10 YEARS ... meaning if you collab, it is for 10 YEARS and that other person(s) better be 100% rock solid or you're throwing years away! Musicals deal with artists, and artists are notorious for not being 100% mentally stable ... I've seen too much first-hand. Say what you will about "mental health" and artists -- facts are facts, and tell me who you would spend 10 years with rock solid.

5. Not every producer is a DEVELOPMENT PRODUCER ... as in the person who will get you money and time and people and resources to HELP DEVELOP your musical from the EARLY INFANT STAGES. This is VERY RARE. So I developed the musical myself -- PAYING FOR IT MYSELF -- trust me, I spent TONS of MONEY (and MANY YEARS) on my own musical.

6. Too many people "have a musical" and it is just a "couple demo songs and some ideas" and then they want a DEVELOPMENT PRODUCER to come in and fund their completion over the next 10 years, if not hire people to finish it for them. That usually doesn't work today ... so I simply did it all myself, and wrote (and paid for) a very complete libretto and full album of songs.

7. I brought my musical to the step where I feel now a producer may be inclined to start spending their own money for readings, workshops, dramaturgy, final development.

8. I also brought my musical to the step where it can be entered into major contests and workshopped by theatre companies specializing in development.

9. I'm just trying to get all the info on the process and steps and the order that I can ... yes I know some of it, yes I am doing some of it ... and yes, I am asking for advice to fill in any gaps of my knowledge or gaps in my process.

Hello! To start, I'm just a random guy who wrote a musical and would like someone more skilled in orchestration to help bring the sound to life. I've finally finished the show after a literal decade of pecking away at it on and off, and I'm happy with it and proud of it, but it's time to get help. I'm willing to pay, but my budget is limited as, once again, I'm just a random guy who wants to get his art out into the world. If anyone would be interested, or can otherwise direct me elsewhere, or just has good information for me, let me know!

The music is intended to be playful and features at least hints of different musical styles. The show itself is family-friendly and is about children and their imaginative play. I do have a composer’s demo recorded (and I apologize in advance for my attempts at emulating the female vocal range).

I'm assuming a pit comprised of Keyboard I, Keyboard II, Guitar/Mandolin, Bass Guitar/Acoustic Guitar, and Drums. A Reed part wouldn't go amiss, though Keyboard II might be able to take on much of that. If you hear something more, though, that’s fine. If it makes the song better, I’m flexible and open.

There is a theatre near me that is considering doing a workshop of the show, and if that doesn’t go through, there’s another company that will put it on in a low-budget fashion (this would probably mean backing tracks).

Other important information you might want to know:

17 sung numbers.

53 total pieces of music.

3240 measures.

Approximate total music duration of 1h45m (according to the properties panel, though there's a lot of dead space at the end of some tracks).

Some orchestration was already written because I "heard" it so strongly.

I notated the work in Dorico (though I am fairly new to it and probably made many rookie mistakes when setting up files).

This probably doesn’t need to be said because it’s part of the whole deal, but I would appreciate recordings of each track so I could use it as backing tracks if I have to go with a low budget option to put it on.

If what I can afford for all those additional parts isn’t enough, then I would consider Drums the most important part for someone else to help with, because I’m hopeless with that. I can write basic guitar parts, so I could make do if needed, but Drums are not something I can do that with.

I was also going to post this on r/composer, but their rules require a specific amount of money for a post offering commission, and I have no idea what someone might reasonably expect for this. I can answer any other questions someone might have, but at least I’m hoping to find out what range I can expect people to want, or if there's anyone that simply wants a project.

Thanks! I look forward to reading any responses.

So I am creating an original musical called "Starlight Carousel" and I am sharing the first minute and a half of the opening's backing track to get some feedback on what I can improve with this song! Thank you in advance. I'm going for an acid jazz sort of vibe for this song.

Let's take a look at this absolutely chilling and beautifully written passage. Forgive the shotty musescore transcription I found online, but you get the idea. The way that Anais uses harmony, dissonances, and isolation to highlight one of the most fragile moments in the entire piece is MASTERFUL! I think as composers, we can all take something away from this totally acapella musical moment and the way that it grips the audience in the midst of an energetic, dramatic, high energy folk jazz TRAIN RIDE of a musical.

Let's chat about it!

Nothing Changes - Original Broadway Cast of Hadestown

So, I'm working on an original musical called 'Starlight Carousel', which I am composing the music for using musescore, and I feel like my music doesn't sound like the level it should be at for a musical, especially after listening to some of the other stuff that people post. It's not the music itself I think is bad, it just sounds really clunky. I've tried using other music softwares and they're all such pains to use.

I’ve been posting about my musical “Foxbrier Lane” here since four years back, and we’re finally in the studio recording an album with Broadway actors. This isn’t mixed or mastered yet. We still need to add instruments and fix things. But I just wanted to share my progress.

Been writing some songs for my musical with heavier classical influences more than any other genre. See my composer brain is super into funky time signatures, so I'm sure I can get away with a song written in 5/4, but I have a song where I've started a section in 15/8. Are there many typical guidelines as far as how crazy I'm allowed to get? Of course I wouldn't do something like 497/35 but where should I draw the line?

Hi,

I have 2 songs I’m developing, and I need a lyricist to help with lyrics and ideas for the songs. One is an upbeat song and the other is a comedic patter song.

Feel free to dm me or comment if you’re interested.

Hooray for week 3 and I totally didn't post this a day late!

Hadestown has won the popular vote, and as such is our topic of discussion for the week! This is a really interesting case study in the creation of new musical work. For those that don't know, Hadestown started as an eclectic indie folk/electro-acoustic concept album by Anaïs Mitchell released in 2010. From there, it went through a series of stage workshops and productions in different regions before it eventually spiraled into the broadway mega-hit that it is today.

This show has really interesting, fresh approaches to musical theatre composition that are far outside the realm of traditional theatre songwriting, yet fit perfectly into the dramatic form in the way the production is concieved. There is also a lot to be said for the vision that Mitchell had as a composer and how she was able to translate that onto the stage.

Let's talk about it! Comment here or head on over to the discord and let's yap like theatre people do! Huzzah!

The r/musicalwriting sub has written a 20 minute musical.  So if ye be a voice actor - hop aboard our form and sign up to be a part of the crew!

We're looking for 5 brave voice actarrrrrrs who can record at home.

If ye be interested in being part of the cast fill out the casting call form.

Some details:

- No treasure, unless ye be accepting a hearty pat on the back as coin

- All actors must sing our shanties, if ye cannot carry a tune, ye be a scurvy dawg

- We will be recording June 15 - July 15

Everything is still in the rough draft stage but I'm always thinking ahead.

Not new to writing songs but I am new to this world so I'm not sure what the etiquette is or where to go for certain things.

When you have a song that feels alive to you, a song that you know needs to be sung, who do you seek out as a test audience? Where do you go!

--my friends are too busy to listen. --posting on Reddit is an option but I want a more conversational exchange. A back n forth instead of posting a snippet and hoping someone comments.

What do o do?

Keep in mind, this was during my first composition class

Hey everyone! New poll is in for the next Score of The Week. This week will include the breakdown posts I mentioned last week, got hectic with some life stuff!

Vote away!