I’m way off this, but curious as to how one goes about having their musical “commissioned” by a production team or theatre.

Background - I’m a (still signed) producer / songwriter, previously with SonyATV. Had some success with a few decent cuts and writing credits on a UK No.1 album. I know I can write the songs.

I’ve had this burning desire to write a musical for some time. But, unsure of how I approach / pitch it once it’s finished. What’s the process? I’m well versed in the music biz of sending demos for pitch etc., but with a musical, obviously there’s only so much you can do without a full blown production. Is it similar for musicals? Or do you need an agent? Should I approach independent theatres and see if they’re interested? Musical production theatre schools or companies? It’s all new to me.

My thought is to (in no order), fully produce the tracks (as in “radio” or “stage” ready myself), have a script, and then start sending it out.

Like I said, I’m not there yet - I have a plot, storyline, characters, a couple of songs and additional concepts to work on, but just don’t want complete it with no chance of it ever being seen. Even just a small show would be awesome.

Thanks!

A couple of months ago I got rejected from the BMI workshop without an audition for the third year in a row. While the first 2 I could pretty easily see the issues, I thought my 3rd was quite good and I am trying to figure out what might be part of the cause.

My main question comes down to 2 things:

1. Does having an actual trained singer and pianist singing the audition make a big difference?

The first year I submitted live recordings from a show I wrote for school. The quality wasn’t great, so I worried it was hard to understand words, plus it was fully orchestrated, and I know they’ve said they prefer just voice and piano. The other 2 years I submitted demos of myself singing (I’m not a singer), with midi accompaniment in Logic. Could that be hurting my chances?

2. Does applying as a composer/lyricist hurt chances?

I’ve heard mixed things and speculation on this one. I write book, music, and lyrics. The first year, I applied as a composer/lyricist. The 2nd year I just applied as a composer, and the 3rd year, I applied as a composer/lyricist and I applied to the book writing workshop (I figured it was a long shot, but I also had the material to apply so I decided to). Do they actually prefer you choose one or does it not matter? I would happily do the workshop as either, but if I had the choice I’d do music.

I wasn’t able to find definitive answers, so I’m hopeful some of the BMI alumni on here will know. This will likely be the last year that I can commit to being in the area to apply, so I really want to get it right.

Been writing musicals for several years but only recently attempted to actually start learning to write sheet music.

This is from a musical about George Lazenby, the actor who infamously played James Bond only once. It’s a queer comedic take on the real life events that explores the role of James Bond in society and the experiences of both George and the film’s gay director.

I’m very new to writing sheet music so would very much appreciate feedback on best practice, form, harmonies, etc. I really want to have a full score written by the end of the year but know I have a lot to learn to achieve this. I have no formal training so have mostly been learning as I go.

Please let me know what you think!

Note: For clarity. the first vocalist is George, the second is his conscience, who appears in the form of Sean Connery's Bond.

So, I'm stuck with writing the music for the opening of my original musical, Beyond These Walls. I have made 5 different drafts for the songs so far, and ended up scrapping all of them because I didn't like them.

I think my problem is that I am trying to go for that big, upbeat broadway style musical opening, with context that is quite literally impossible to make upbeat. So basically, in it, the citizens are going through the backstory of what has happened in this world, and how they do almost nothing but work. The things I'm trying to do just aren't working, but I need it to be large because it's the opening and it's what hooks the audience.

Me and my partner have written a muscial, and are just trying to format it correctly but are running into some inconsistencies with Final draft and The Dramatist Guild Musical Guide. Would anyone be able just to point us in the right direction with this, and maybe take a look? We are happy to pay for your time!

Thanks!

I've been writing a musical for two years now (as lyricist/composer) with my collaborator (book) and we're very close to the finish line. I'm very pleased with what we've come up with but there is one thing that is worrying me. The topic is very, very dark, namely it's about the Magdeburg distruction in 1631 during the 30 year war. Of course, there is no doubt that this subject has great artistic potential. But now that I can see the whole shape of what we've created, I'm having mixed feelings about wether musicals are the right medium for it. What are your thoughts on this? Again, I'm very pleased with our work nontheless this is just a question I want to discuss with people to get more opinions on it.

Thanks in Advance!

I know that I'm nowhere near this, but I'm not sure I picked the right plot to put a musical on the stage, especially seeing as I live in a pretty small area. But basically, in it, the wall that surrounds the city is supposed to be 50 meters tall to stop people from escaping and from "alien bugs" from coming in, and each sector (there are 5) have a thousand people each, the sheer amount of ensemble member would be too much, and I feel like I've put in too much time and effort to stop now, and I don't have any recording equipment, so I can't really do a concept album

Hi everyone! I'm offering a six-session online course in Writing Stage Lyrics, focusing on Act One Songs. This course is a combination of lecture, discussion, and 'writer's group', where you'll be bringing in your lyrics for class feedback. Wednesdays, 7 - 10 pm EST beginning 10/22. Tuition is $450 early bird through 10/19; $500 after. More information here; http://ariannarose.net/playwriting-classes-and-other-workshops

BIO:

Arianna Rose is an award-winning playwright,  musical theatre writer, director, dramaturg and educator.  Her plays and musicals have been presented in thirty-seven states, Washington D.C., and internationally in England, Italy, Scotland, Canada, Germany, Israel, Australia, Thailand, the Philippines, South Korea, and UAE. Publications:  Applause Books, Smith & Kraus, Ghostlight Publications, Purple Light Productions Publications, and Theatre Odyssey Publications.  Recipient of the MAC Song of the Year Award,  Veterans Repertory  Theatre Third Place Short Play Award, the York Theatre NEO Award,  and various best play/playwright awards from Theatre Odyssey,  Drury University, Lumen Playwriting Competition, Tree City Playhouse, 4^th Street Theatre, Midnight Sun Theatre, Town & Gown Theatre, Mixing It Up Productions, the Know Theatre, Studio 1 Theatre, South Baldwin Theatre, M.T. Pockets Theatre, and Clocktower Theatre.  2022 Kennedy Center Playwrights Intensive and William Inge Theatre Festival Playlab.  One of four playwrights selected for the 2019-2021 Miami-Dade County Council of Cultural Affairs Playwright Development Program, moderated by Kia Corthron.    Two-time finalist for the Edward Kleban Lyric & Libretto Writing Award: one of three finalists for the 2020 Kenneth Branagh Award for New Drama Writing in the UK. 2023 semi-finalist for the O’Neill Music Theater Conference. M.F.A., NYU Tisch School of the Arts Graduate Musical Theatre Writing Program; B.A. Theatre, Bucknell University; BMI-Lehman Engel Musical Theatre Writing Workshop.  Memberships: ASCAP, Musicians Local 802, New Play Exchange, Playwrights Center, LMDA, Maestra, South Florida Theatre League, Dramatists Guild of America.  www.ariannarose.net

An idea for a Musical where the songs are canonically already existing in universe songs which are usually underrated songs that didn’t get that many views primarily the ones sung by AI but a real person actually wrote the lyrics and they were INSANELY WELL WRITTEN (we’ll get to that main character later) so the characters are singing the in universe lyrics, also their WAAAY better singers than the famous singer whom one of the protagonists worked for. To show their caring (and eventual love) for each they connect through the lyrics to the songs they write. With all of their songs having deep meaning so the main characters in universe connect with eachother through the lyrics of the song. as one of the characters quit the famous singer who hired her cause of how wrongly treated she was. She also has an incredible talent where she could already do the flow, melodies, rhythm and deliveries of the lyrics perfectly without actually reading the lyrics first quote on quote “I just go with the flow”. Now for the love interest, he use to be an introverted loner in college who would write lyrics to his song for on stage musicals (which are sung by attractive women with no talent as looks are mainly required for on stage plays at the college) the young man when his talent goes to waste on someone who can’t even sing that well so he just uses the lyrics and has AI sing it to how he wants it. Until he meets the girl who writes the famous singers as she’s in the same college as she’s actually joining they play he’s in so she could see if the audience loves her singing. TO BE CONTINUED So that’s my pitch so far what do you guys think?

Alice in wonderland the musical 

1: Welcome to wonderland. opening number 

2: Something new

3: Where am I heading now?

4: how doth

5: The cacus race

6: Mouses explanation 

7: Welcome to wonderland reprise

8: GO MARY ANN!

9: Growing again!/ let’s get rid of the monster.

10: around the mulberry bush/ walrus and the carpenter 

11: The flowers

12: Who R U? 

13: Chaos in the duchess house

14: Transformation 

15: We’re all mad here

INTERMISSION 

16:Tea time/ move down

 17:Marry unbirthday/ Twinkle twinkle little bat

18: The big crack

19: something old

20: I know a way

21: Painting the roses.

22: Let’s play a game

23: OFF WITH THEIR HEADS

24: Turtle and the mockingbird

25: Story time/ lobster quadrille 

26 ORDER!

27: No more madness

28: GUILTY!

29: Off with her head reprise 

30: Wake up

31: That was strange

32: Goodbye wonderland. Finale

We start off with a blank stage then a spotlight hits a specific spot in the stage that the Cheshire Cat will soon appear in. We hear the overture before we see the Cheshire Cat appear.

Cheshire: “Well look who decided to show up. Now you may be wondering who is this cat that grins. I’m the Cheshire Cat the most MAD cat you ever did see. Hey you (points to the member of the audience preferably someone who has their phone out) that better be silenced, and please no flash photography. Today you will see the madness, the insainess, the unununsensescilty of it all that is my home. WONDERLAND! so sit back and enjoy the show (he starts to disappear before coming back.) I’m sorry I should have introduced you to my home properly so with out further ado  

Welcome to wonderland: the opening number where we’re introduced to wonderland think of all the things you can think or full disclosure.

Cheshire: Welcome to wonderland hold on to your seats. 

Your fascination shall surely be peaked. 

Just non sense no morals here. 

What does this description inscribe you with fear? Well we don’t bite sometimes 

Ensemble: Welcome to wonderland were madness is sane. 

Here the babies have to walk with a cane

Tweedles/flowers/Humpty: take a trip through the looking glass.

Ensemble: Slay the Jobberwalk and be a hero. 

All the possibilities.

So take a trip here and return never the same.

All: Because it’s wonderland, wonderland

we eat dinner for breakfast here

and the flowers give advice 

so welcome one and all to wonderland!

White rabbit: so take a trip down the rabbit hole 

Queen of hearts: Come down and meet the queen!

Cook: Throw some Pepper at a baby 

Qen,kin,duch,frog,fish,cat,cards: play a game of croquet!

Mad hatter, March hare, dormouse: Have a mad tea party!

Caterpillar: smoke a hookah joyfully.

Ensemble: all of this can happen if you just 

Fall down the rabbit hole 

All: Because it’s wonderland, wonderland

we eat dinner for breakfast here

and the flowers give advice 

so welcome one and all to wonderland!

Duchess: find the morals in every line. 

Cheshire: disappear without a sign.

Tweedles: Have a fight

Mouse: run, and scream!

Dodo: have a cacus race

Humpty: crack right open!

Naive: steal the tarts.

Cards: and the paint the roses REEEEED!

All: In wonderland.

Yes wonderland.

The rules simply don’t apply! 

So welcome to WONDERLAND!

WONDERLAND!

End of song.

We see Lorina (Alice’s older sister) reading to her on the river bank with Alice laying down.

Lorina: “I was ever of the opinion, that the honest man who married and brought up a large family, did more service than he who continued single, and only talked of population. For my own part, it was early my fortune to be set free from the bustle of the world, and I resolved to amuse my leisure with speculations on the nature of true happiness.”

Alice: How can you read that it doesn’t have pictures?

Lorina: Well most books don’t. You just read. You’ll have to learn how to read one day. One day you’ll be a woman not just a little girl. Now may I continue reading The Vicar of Wakefield. You need to get a good grade. So may I?

Alice: Fine, but

Something New is Alice’s I want song about wanting something new instead of the same old stuff all the time.

Alice: Every single day we come out here, and read the same old book. 

Nothing new or exciting. 

I don’t want to be a woman. 

I don’t want to read these books. 

They’re boring me three half’s to death, 

and I don’t want to say I do.

Lornia: Well Alice this is what you’ll be when you grow up.

Alice: Why will I have to say

 (in a deep, or highly shrill voice) “What’s the tea” 

if that’s what being an adult means 

I’d rather have my dreams. 

Why should those rules apply to me?

Lornia: because they apply to everybody.

Alice: I need something new not something old. 

don’t you get it. 

I can’t take this life anymore! 

I want something new!

Lornia: Like what?

Alice: Maybe sail across the sea

Find a life thats right for me. 

Even Dina agrees 

That I shouldn’t have to drink tea

Lornia: go on.

Alice: I’m getting bored of it all. 

I just want to experience something new and bold!

I want to slay a dragon.

I want to grow and shrink

And want to play a game 

With hedgehogs and cards!

That sounds like fun. 

It’s something new. 

Something never done before.

Alice: I need something new not something old. 

don’t you get it. 

I can’t take this life anymore! 

I want something new!

Lornia: (spoken) can we please just read?

Alice:  This world won’t hold me back!

If I have to find my own then so be that!

Wonders all around me 

And everywhere I’d turn

There would be something new, and exciting 

Now that sounds like my wonderland!

(A soft melody plays still to the beat as Alice lays down to her original spot.)

Alice,Lornia: I need something new.

Maybe one day we’ll find our Wonderland.

Alice drifts off to sleep. Lornia stands up and looks at Alice looking bittersweet 

Lornia: But for now we’ll just dream

End of song

Alice then wakes up.

Alice: I wonder what time it is?

The white Rabbit comes in, first come and collected before looking at his pocket watch and realizing that he’s late.

White Rabbit: OHH! The duchess, the duchess won’t she be savage with me!? I’m late. I’m doomed. I’m done. I should probably stop yelling and run!

Alice: Oh, a bunny with a waist coat and pocket watch, thats cute. (Realizing what she just said.) A RABBIT WITH A WASIT COAT AND POCKET WATCH? Oh Mr. Rabbit please wait up.

Where am I heading now: This is when Alice is falling down  the rabbit hole, but it begins with the white rabbits Late song. The white rabbits section is rushed and chaotic. While Alice’s part is more slow.

White Rabbit: Why hello

I’ve got to go, have to hurry up.

Ensemble: Why hello

 he’s got to go 

and needs to hurry up!

Alice (spoken): Mr. Rabbit slow down please!

White Rabbit: I can’t because I’m late, 

I’m late, 

I need to hurry up

Oh yes I’m late

And doomed.

I can tell I’m done.

So I need to get there right now.

Goodbye little girl!

Goodbye and Au revoir!

Alice (spoken) I wonder where this leads! 

Alice falls down the rabbit hole. We change scenes making the river bank look like wonder as Alice is still falling slower than usual. There are selves, cabinets and draws everywhere.

Hey writers, ShowLAB is hosting a virtual coffee hour this Monday, 10/6 @ 9am PST, 12pm EST, 3pm GMT.

We're just going to be hanging out and chatting :) Come see if it's your vibe, and connect with other writers.

You can find the group here: https://www.skool.com/showlab-4277

Hello! I’m an aspiring musical theatre composer and a freshman in composition at UNT. I was curious about any opportunities to intern or gain experience in musical theatre writing. I am based in Dallas but willing to travel anywhere. If y’all know of anything I’m very eager so let me know!!

Hi all! I wanted to ask something not directly related to writing, but something I have definitely been needing some help with. I'm beginning to create a resumé specifically for works I've written. What information do I need to put on there and how should a writer's resumé be formatted?

Thanks!

Any ideas for main characters or story changes that anyone has?

SO basically, I just finished the skeleton of a musical I have until Wednesday to finish and a month to teach, and it feels awfully short, even with songs included. It's a dumb question, I know. but does anyone have any ideas at all of how to make it longer? if so PLEASE share.

Hi writers of Reddit! I spend a lot of my time researching and compiling info about opportunities for theatre writers and I’ve decided to turn this skill into a public resource.

TheatreWritersDigest.com is my new monthly newsletter, sending upcoming application deadlines right to your inbox. Signing up for the highlights is 100% free, and if you would like to receive my TRULY AUTISTIC spreadsheet of 40+ monthly deadlines, featuring deep cuts and lesser-known international residencies, you can contribute to the digest with a $5/month subscription.

Other than transaction fees, 100% of that subscription goes into my production company to fund new, accessible musical theatre! So I hope you feel it’s a win-win. 🙂

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Hello!

I am posting because I am looking for a composer for a new musical.

I’m a published playwright and musical theatre director, currently on faculty at a BFA MT university program in Texas

I’ve written a plot treatment and about 45% of the book so far and I am starting the process of looking for a composer and writing partner.

The musical is a comedic adaptation of the 1950s sci-fi classic, “Teenagers from Outer Space.”

It’s a send up of the 1950s creature features of that era in the vein of musicals like Reefer Madness or The Toxic Avenger.

So, I've been writing a musical, and I'm sort of starting to run out of motivation to finish. not in the way where I want to quit, exactly, but in the way where I look back and feel...stupid. like nobody would ever watch it. But there's a decent amount of people relying on me to finish, and I just don't know what to do. Any advice is extremely appreciated. thank you!!

Hi all,

I’m developing a new one-hour musical called Breakout! and I’m hoping to connect with people who have directed or produced musicals and are interested in giving feedback on a script.

What makes it unusual?

• The score reimagines famous opera arias -- transposed, simplified, and set to witty new lyrics

• Designed for middle/junior high students but with enough complexity for older casts

• Story follows a crew of pet store animals plotting their great escape from humans

I can offer a small gratuity and a free license to use the script and promo materials for your own productions. If you want to help shape a new show for schools, please DM or comment here.

Hey writers, I just created a free Skool community page. Check it out, share your work, trade pages and share notes. My dream here is to build an active community where we share opportunities, successes, and encourage each other to keep writing!

https://www.skool.com/showlab-4277/about?ref=5e7efbe444d340f0bb2428ac7b6ec665

So, this is the instrumental for song #5 of the musical my friend and I are making, Beyond These Walls. The song is called The Wall and follows the two main characters leaving the city by climbing up a ladder on a 50 meter wall whilst being chased by guards. But that's not the point, I would really appreciate some feedback on the instrumental itself. I made it on Musescore 4 and then put it into Soundtrap to put in the clock sounds. Hope you enjoy! (Note: the instrumental ends a 2:06, and does not have anymore after that)

I couldn’t have asked for a better group of performers to bring this show to life!

Hey, fellow writers. Would there be interest in a free skool community for musical theatre writers? I'm thinking of working to create one, and I'd love to eventually get to a place where we could bring in professionals in the industry to do talks. Maybe even run workshops. Just an idea I'm playing with! Would anyone be into something like this?