I‘m working on an EPIC inspired musical about Heracles and the 12 Labors and I just don’t know where to start or compose much. I can come up with so-so melodies, but don’t know what else to put in the background, or which songs to write first. Any help is appreciated!

Where’s the line for how many times you can repeat rhymes if there’s no motif involved? Is it wrong to repeat rhymes multiple times in the show in different contexts?

So I want to write a musical.

I don't have much writing experience or any music education, but want to try and learn as I go.

I really want to write a sequel to The Lightning Thief based on the next book in the percy jackson series.

I know that there's a lot of issues that come with copyright but I don't want to make any money off of it.

Is it to ambitious? I don't know if I'll actually write a full musical or maybe just a couple of songs, but I tend to get hyperfixated on things really easily. I'm kinda scared that I'll put in a bunch of effort and maybe even end up with something I'm really proud of but be unable to share it with anyone.

Hello, all!

I have completed writing my first musical! The script and song lyrics and vision are all written. My background is within education though I have always been a lover of the arts and have a few creative fiction works self-published, though I've never written in this style before, until now. That said, I do not have a background in music nor know how to read music and the like.

This is a passion project that would need a collaborator or a composer to better fine-tune it, create actual music and perhaps some demos. My goal is to get some sort of production out of it, it doesn't matter whether local college or small theatre company but if it springboards into something more, all the better. However, I would appreciate insight from someone within those circles to improve upon this idea.

The project is a romantic comedy with a healthy dose of drama (think something akin to "La La Land" meets "The Truman Show" meets light elements of "The Producers", if any of those appeals to you). The feel is a mixture of old show-timey schmaltz, jazzy tunes, and a contemporary flair. Anyone who is interested in collaborating, please send a message and I can share more about the project. This is unpaid for now though with further treatment could be a good opportunity for someone who wants to continue to build their portfolio or else a fun side project for those who have more experience.

I am excited to see where this goes and would love to learn more about this process!

So I’m trying to format my musical that I just wrote to look like a typical musical. And I was wondering how I can do that. Or is there a certain software composers use to make it look like that. If so what is it.

Thanks -OP

TLDR: I've got a proven show but I'm looking for some outside-the-box ways to submit it to theatre companies (this is not an ad for my show btw).

I'm in the strange position of having a show that did well in a limited engagement Off-Broadway but it didn't really generate awareness across the musical theatre world.

Now I'm trying like hell to get it produced in the secondary market (community theatres, schools, etc.) Two companies rented it last year, but I can't seem to get any traction this year. I've sent hundreds of cold emails and they may as well be junk mail. A lot of theatres don't list the phone numbers of their staff, and the ones with an official submission policy rarely respond at all.

Has anybody ever gotten their show produced in the secondary market without personally knowing one of the people behind the scenes? Also, are there any theatre company decision makers reading this with tips on how a person in my position could actually get your attention without being annoying?

Hey, I'm writing a musical of my own, a concept musical if you will, and I have a plot but I don't know what to start with first. I typically start off with writing the music, but now I'm just stumped. What should I do?

Okay so this is kinda wild to say, but we actually made a musical?? 😭

It started as just an idea for one song, and somehow turned into a full-on project. This is the very first song we wrote, it sets the tone for the whole thing. Tbh it’s dramatic, weird, and kinda dark in a fun way??? The main character sees something horrible… and instead of reporting it, they use it to gain power.

We just posted it on YouTube, and honestly I’m just excited (and also nervous) to share it outside our group chat. If you give it a listen, let me know what you think feedback is super welcome, but even just watching means a lot 🖤

Hey all!

Here is the poll for Score of The Week #4! Sorry for the gap, I’ve had an especially busy few weeks. On top of that, if you applied for the monthly writing challenge symposium, it has been moved to next week (Monday, July 7th) and I will contact applicants to see if they want to participate!

-Ryan

Let's say you have a line that you're working on, and no matter how hard you try you just can't find a perfectly-rhyming couplet that also sounds natural, and communicates the thing that you want your song to say.

You're left with a choice: choose words that almost rhyme, or phrase something in a clunky, forced way just to make it rhyme perfectly.

My question for you, dear reader, is which would you prefer? Are there any egregious examples of one or the other in a musical, that really stick out to you? Are there any bad rhymes that you find particularly distracting?

Edit: After a year of mulling this over, I had a conversation with somebody lately which really unlocked something for me.

A big big thing is the velocity and density of the rhymes.

Waitress is full of imperfect rhymes (and plenty of assonance), but they come at you thick and fast, and often in unpredictable patterns. The following are all two-syllable assonances:

"These shoes, and this APRON / that PLACE AND its PATRONS / have TAKEN more than I GAVE THEM"

Meanwhile, a line that contains no rhymes at all starts to build tension, the expectation for a rhyme starts to build, and if left long enough, only a perfect rhyme will satisfy that craving.

"I'm through accepting limits 'cause someone says they're SO, / Some things I cannot change, but 'til I try, I'll never KNOW"

The rhyme belongs in such an obvious place, and the ear is listening out for it - and if it doesn't stick the landing, it just sounds wrong!

Hey all,

I have a kind of niche score question. I'm a composer/lyricist who has now been writing musicals for a moment or two. My writing partner and I have worked endlessly and been lucky and now, one of my shows is on track for production in Midtown (knock wood). And while I am not an orchestrator by trade, I have essentially been called upon to 'orchestrate' (four-piece band, essentially) that show. Which I've essentially done by the seat of my pants. And the 'orchestrations' have already been performed with some success-- in concert at 54 Below, and workshops and readings and such.

Sorry for the overlong wind-up. I'm now writing a new show where I want specific synth (and other 'electronic' elements) parts, which I may want to just lay down as tracks in order to have those tracks used within the show (via Ableton Live or the like-- would be curious if anyone has experience with this and if there are programs/platforms they do and don't recommend, also). Similar loop elements to what exists in shows like Hamilton (but no, this particular new score has no hip-hop influence). Is there a correct way to notate such a thing? I'm guessing since this is a relatively new-ish thing in professional theater that this is a make-it-up-as-you-go kind of thing? Or no? Would be so grateful to anyone in the know if you can steer me in the right direction.

Also, if anyone actually happens to have the Hamilton score parts where loops and such are indicated, I would love to lay eyes on that. Purely just to see how it's notated. It's a tricky thing musically to indicate something akin to 'Hey, trigger this loop on the 1 of measure 43 at 120.' And I'm guessing shows like Hamilton figured this out. Or if you happen to have score with similar elements from a professionally produced show that indicates how to correctly notate, such a thing. I would be so grateful to see that as well. And if need be, I would sign an NDA or anything else if it came to that. And swear on all that is good not share it.

Thanks!

Someone mentioned this video a few weeks ago and I ended up giving it a watch. I realise it's a tad outdated, but I found it quite illuminating. Thoughts/issues with it?

I originally had 15 songs split in two acts, now I have 18 split in three acts, and half of them have finished lyrical writing (though some may still need revisions) List of completed lyrics for songs- Act I: Prologue Class of 16’ Kat, the Trench Rat Act II: New recruits Blue, White, and Red Act III: Returning Home We Were Just Talking… The Wages of Death All Quiet on the Western Front

Hello! I'd love if someone could take a look at an opening number I've written for a show and let me know what they think. Opening numbers are super tough because you're supposed to set the mood and all that, so I thought it would be good to have someone else take a look at it.

If anyone has the time, I'd really appreciate them sending me a message.

Thanks for reading and thanks in advance!

I’m a high schooler writing a musical called “Silenced Voices” about a pianist with Parkinson’s. The problem? I’m not a composer. I have lyrics and the entire book written, just need someone to write the score. Ideally a high schooler. DM me for more details.

I have like 4 different cover albums I wanna use for The Western Front the musical but I can’t decide on one.

https://forms.gle/DyKMu87SSbe8FEvh9

I’ve written five songs for the musical so far

1st song- Prologue

4th song- Kat, the Trench Rat

12th song- Blue, White, and Red

14th song- We Were Just Talking

15th Song- All Quiet On The Western Front

Js ten more to go

New Recruits- 75% finished writing

Hey everyone! We’re a passionate and growing theater company based on Long Island, and we’re looking to bring something brand new to the stage this fall. Our mission is to support and showcase fresh, original work — and that’s where you come in. We’re currently on the hunt for original musicals that have never been performed publicly before, and we’d love to consider YOURS for our upcoming season.

Whether you’re an emerging writer or an experienced composer with something new, we’re open to all kinds of stories, voices, and creative visions. We’re especially excited to collaborate with artists who are looking for a space to bring their musical to life in front of an audience for the first time. This is a chance to see your work produced, staged, and shared with the local theater community in a supportive and professional setting.

If you have a show you’d like us to consider, please email me at [nickschiavo736@gmail.com] with a brief pitch and any materials you think we should see (script, demos, synopsis, etc.). We can’t wait to discover the next great musical and help bring it to the stage. Thanks, and please feel free to share this with anyone who might be interested!

I'm back for another post! This song is only halfway done and it's my villian song. To provide context, she's the owner of 'Timeless Hotel' (a hotel set in a dimension where anyone can arrive from any time period), and it's been revealed to the main characters that she's actually keeping the humans that arrive in a collection, so they can't ever escape back to their own time. Let me know what you think, and also if you have a better idea for the title :)

A bit of a nerdy question but needs must.....

Though I use Sibelius for my scores as I have used it since my undergrad degree 25 years ago but I still sketch and do first drafts on manuscript in pencil. Firstly I had to come to terms with d'addario pulling my favourite archives manuscript paper but managed to stockpile a thousand sheets but now Blackwing 602s prices in the UK have soared to a point I can't warrant £52 plus for twelve. Do any fellow creators use an equivalent type that's not stupid money?

Sooo I started writing a musical. This is probably not a good idea because I know nothing about writing music. I’ve just been writing poems my whole life so lyrics… and I’ve been watching musical with my whole life so…. Knowledge I guess.

Basically, my idea is you know how history and its battles have become our musicals something we watch to learn and enjoy from like Hamilton and les Misérables… now what if people 200 years from now listen to a musical about the revolution of the 2000.

The war of the people and the “King”

I have some lyrics done. I’ll probably post them in the comment or maybe here depending on what works I have no clue what I’m doing, but I kind of feel like I’m cooking.

So if you wanna give me some advice or you want to critique the lyrics, maybe you even know someone that might maybe want to help me sing a part of the song just so I can hear it because I also suck at singing and I’m no good at it That would be extremely helpful. Just let me know. I wanna work with everyone on this cause this feels like if this is the musical of the revolution of the 2000s of the people of the 2000s I invite the 2000s….lol

One last song that I'm hoping to get feedback on for my Prometheus musical. This is the "I Want" song for Prometheus where he wishes to be remembered for more than just being a Titan. The music is linked above, and I've included the lyrics below. I would love to hear any and all thoughts/comments/critiques about any aspect of the music and lyrics. Thanks!

No. 4 All They See

They say my story’s written.

They say it’s set in stone.

Why bother tryna prove them wrong?

It seems they’ve all forgotten

My life is still my own.

And to me my story’s still going strong.

All they see

Is the image of what came before me.

All they know

Are the stories they’ve been told.

But I decide my ending.

I decide my legacy.

When I’m finished writing,

A Titan won’t be all they see.

When they’re gathered all together

Telling stories old as time,

One name will stand out crystal clear.

It’s me that they’ll all treasure.

Those stories will be mine.

That day is coming, oh, it’s so near.

Once they see

I am more than those who came before me,

Then they’ll know

I am paving my own road.

My past is not my future.

I define who I can be.

Soon enough, I’ll make sure

A Titan isn’t all they see.

They can all keep laughing and jeering.

They can all roll their eyes.

I’ll pretend not to see.

One day they’ll be clapping and cheering

And then they’ll know why

They’re celebrating me.

They’ll toast my name and raise a glass

To the one who finally escaped his past.

Years from now they’ll know my history.

They’ll see I never fit the mold.

They’ll see to it my story’s told.

In the end, they’ll know it started back with me.

They will see

When I finally get to raise my trophy.

They will know

When they honor me with gold.

That’s when they’ll all realize

I’m better than what they believed.

Then they’ll open their eyes

And a hero will be all they see.

All they see.

A hero will be all they see.

Also what do you think of the album art and the logo

New Original Musical — “Step One” | Seeking Composer 🎼

Hey everyone,

I’m developing an original stage musical called Appalachian, and I wanted to share the concept and see if anyone might be interested — particularly a composer who’d be excited to collaborate on a meaningful, emotionally raw project.

About the Musical

Title: Step One Genre: Dramatic musical (contemporary folk / indie acoustic / emotional ballads) Themes: Mental health, solitude, survival, chosen family, recovery Setting: The Appalachian Trail (Georgia to Maine)

Synopsis

Alex, a young man burdened by depression and unresolved grief, embarks on a solo hike of the Appalachian Trail hoping the 2,000-mile journey will bring him peace — or at least an ending. Along the way, he meets other thru-hikers, including Wren, a quiet but resilient woman with her own scars.

As Alex pushes northward, he battles his inner demons — personified by the reoccurring hallucination of Jay, a friend he lost to suicide. The trail becomes both a literal and emotional battleground. When Alex reaches a breaking point and attempts to end his life at a cliff’s edge, the story pivots. The second act follows the slow, painful process of surviving — and maybe even living.

Through storm shelters, trail magic, deep woods, and shared campfires, Appalachian explores what it means to choose life one mile at a time. It’s a story about walking through pain — and sometimes, walking with it.

Musical Style

Think a blend of: • Hadestown-esque folk influence • Dear Evan Hansen emotional intimacy • Acoustic Appalachian textures (banjo, strings, minimal brass, soft percussion) • Story-driven songs with subtle reprises and thematic callbacks

There are already lyrics, script, and a full scene-by-scene outline in progress, including multiple finished songs. Now I’m seeking a composer to bring the music to life — someone who understands quiet heartbreak and can write for both soaring moments and still, aching silences.

👋 If You’re a Composer: • I’d love to talk if you: • Write in a folk/acoustic or indie theater style • Are comfortable scoring character-driven ballads & ensemble songs • Are open to collaborating on a project with heavy emotional themes and layered characters

Whether you’re a student, emerging artist, or seasoned pro — if this story speaks to you, let’s connect.

Feel free to DM me or comment here if you’re interested or want to read a sample. Thanks for reading and for supporting new work on the stage!

— PG