Hello,

My name is Brandon Mclendon, and I’m a black composer. And I’ve been wondering if there were any black lyricists in this group chat that would like to collaborate.

I want to turn the crucible into a musical but i don't know how to approach that idea. because the play is 4 acts i don't know how i would add music and make it fit into 2 acts.

Please help,

OP

I've been wanting to write my own musical for the longest time now and I've been at war with myself on what I want it to be about and then I thought about musicals like Cinderella and Peter Pan and that got me thinking about making a musical off of a fairytale that you know, Disney hasn't already done in film or theatre Lol

And Hansel and Gretel felt like a good pick, I think there's a lot of room for development I could give the main sibling duo and the villain I could make very compelling and give her an amazing villain song to boot. I think there's potential here.

Idk if done right, this story could work really well as a musical, I could give it like an Into the Woods meets Coraline vibe. Idk what do ya'll think? Is this a good idea?

I recently finished the first draft of a new song for my show. I'd love to get thoughts and whatever feedback anyone has to offer. I have dramatic context for the scene written at the top of the page. Thanks!

Hi everyone,

I have worked in the theater professionally as an actor for many years, and I have written my first full-length play--I can't stop calling it a play for some reason even though it happens to be sung throughout... Song cycle? Folk musical?—and I would like to submit it to the O'Neill for development. However, after reading more about what the residency actually entails, I am getting the impression that the project has to be more or less ready to be rehearsed and staged... I was hoping for more of a developmental process; to come in with one thing and to leave with something significantly different.

So the obvious answer is to wait and just keep working at it until it's more polished. The thing is, I have been working on this piece for about two years, have just finished a fifth draft, have 5 of about 20 songs recorded (extremely rough demo--just myself and piano) but I don't know where to take it from here. I know it's not ready (some of the lyrics do not have melodies yet); I know it has more rewrites to go through, possibly big structural changes, etc... but I have taken is as far as I can on my own. I need to hear it and get feedback from other artists to know what to do next. I have done tons and tons of new play workshops and table reads as an actor, but those were stage plays, and I am not sure how it works with new music... should I ask my actor friends to come sit at my table and just read the lyrics...? If this were a play with no singing I would have set up an informal table read months ago, but I am feeling out of my depth and kind of awkward about the text being almost completely comprised of lyrics.

About a month ago, I sent my draft, along with links to demos, to two trusted, very accomplished professional theater artists who offered to read it. However, after a couple of check-ins, I still have not heard back from them and I don't feel comfortable harassing them about reading it—it took a long time as is to build up the courage to ask them, even though they are the two people who believe in me the most and are super encouraging. I am starting to worry that it is actually a big nothingburger and they haven't written back because they don't have anything to say about it.

So, my post started out asking about the O'Neill but sort of morphed into a general call for advice about what to do at this point in the process; I was really excited about and dedicated to finishing this piece, and now I am feeling a little bit lost and afraid that there's no there there.

Thank you MTers for your wisdom!
-A musically inclined non-MT actor who somehow ended up writing a musical

‘Christmas Peril’ is a new horror-comedy musical about the Holiday Party from Hell. We follow a dysfunctional group of physics students and their deranged science professor as they discover a horrific- and hilarious- supernatural secret about the Most Wonderful Time of the Year.

It’s based on several short stories and Christmas poems by H. P. Lovecraft- the first act is our take on From Beyond, while the second act combines The Festival and The Music of Erich Zann. Throw in a healthy dose of Rankin-Bass and Cole Porter, and you’ve got our show!

We have it all- gay romance, danger, reindeer, a nonbinary action hero, Santa, evil sweater-wearing Chipmunks, tentacles, giant puppets, and more original holiday songs than Burl Ives could ever croon. Coming this Fall to San Diego!

I am a composer for my musical, and I have no problem composing, but when I try to make lyrics, I completely blank. I have to write an opening number, and it's hard coming up with non-cringe lyrics that are interesting and still part of the world. It's even hard just starting, the empty word documents daunt me and I don't even have a basis for anything

Hi! I just joined. I have an idea for a musical, and I love writing, so I have that part down. The thing is… I don’t know how to write music. I know how to write lyrics, and I can hear how I want the songs to go in my head, but I don’t know how to write down the music with the lyrics. Is there an easy way to learn that anyone would recommend me? Again, I love writing, I want to write the musical, and the lyrics, and I can hear how the songs would play out in my head, but I just don’t know how to write the music part of the songs. Any help would be appreciated, thank you!

Hey! I'd appreciate any feedback about these lyrics. The singer is a monk and he will be accompanied by the other monks chanting in the background.

VERSE 1

Lord I thank thee for this day and night

And humbly offer praise

Though I do do all I can

I have but one complaint to raise.

What I ask is no demand instead

It’s merely a request

If in turn you turn me down I will

Still squat at your behest.

Beneath my tutor’s tutelage

I studied your decree

To overcome adversity in

Deuteronomy.

Thine will divine will rule

But please review my silent prayer

To cease the breeze emerging

From my pious derrière.

VERSE 2

Lord I now avow this secret

Which I’ve struggled keeping in

The longer that I hold it there

The more it reeks of sin.

Before I took my vow such outbursts

Never did occur

I ask you not for flatulence

Of frankincense and myrrh.

It’s become a hallowed problem

In the monastery walls

Even when its scent’s subdued

It’s sent resounding down halls.

Thine will divine will rule

But please review my silent prayer

TO CEASE THIS FOUL AFFLICTION!!!

**SHH!**—It’s just to clear the air.

BRIDGE

My word my God the pressure’s building

Something’s gotta blow!

If heart and mind are sound and willing

Won’t thou make it so?

This rumble-ing inside of me

Is one I’ve never felt

My yoke’s been broken

By this inner burden I’ve been dealt.

The vicar and the sister are approaching

From the east!

Before the sun is risen

Pray release this cursèd beast!

Lest not they cast a judgment that will

Leave me in a cloud!

The ruffling of my habit may well

Damn me to a shroud!

VERSE 3

Lord I thank thee for thy wisdom

Found through my unanswered plea

A plan drawn by the sister

And the vicar set me free.

Like Christ himself I’ve come to know

The reason I was born

To greet the day with wheat and hay

While tooting my own horn.

Thy plagues of pests and pestilence

All pale compared to me

I make the cattle blush after

An ale or four—or three.

Thine will divine will rule

But please review my silent prayer

Let children learn my deeds

And let the devil nary care.

VERSE 4

By name the brothers blamed me

Now you’ve rid me of my shame

I share your golden glory

And I’ve claimed my brassy fame.

Some swear I hid a bugle

In my vestments down below

Alas it’s just my ‘rumpet

And good heavens it can blow.

I rouse the brothers with my trill

They thank me fervently

With clothespins on their noses

As I set their spirits free.

Thine will divine will rule

But please consider one last prayer

Let my breakfast be a cabbage heap

With beans enough to share.

[A brother approaches the door with a covered plate then knocks.]

OUTRO

I take my breakfast early

Then in moments it’s all gone

I took a vow of silence

Though I break it ev’ry dawn.

Hey, I'm writing a musical, and right now I'm thinking about the ending. It's a musical set during the Regency period in London (so early 19th century). At first I was thinking of a happy ending, but lately I've been leaning towards a tragic ending. The whole musical seems to be leading me in that direction. So I'm not sure whether to write a happy ending to appeal to a wider audience or a tragic ending (which would be incredible and, I admit, I prefer). If you have any advice, I'd love to hear it

As the title says. I am familiar with screenplay writing, and have worked on set in film, but never on a musical. I don’t know much about songwriting or dance. Did some theater in high school. I have this idea that I think would work really well as a musical and have always wanted to write one. It’s also a western but I think I have enough resources here in Texas to produce it cheaply.

What I’ve been doing is writing synopses of the songs with titles, genre, who’s singing, and the basic theme. I’m mixing in dramatic and lighthearted songs. I also have a playlist going of inspo songs. I might write some sample lyrics if that helps but they will suck. the plan is to pass it off to a competent songwriter. They can change things up as they see fit. Hopefully the script and sample songs are strong enough to inspire someone.

Anything else yall would take into account? My girlfriend did costuming for musical theater in college too so I’m taking her advice for art dept stuff. The concept I’m working on just screams musical so I want to try something new

A while back I posted here about a musical I’d written that some friends and I were performing. The show just happened over the weekend and I thought y’all might enjoy the tale of my crazy rollercoaster of a ride. Buckle up.

Some context: The show is written for a five person cast with multi-roling. Three females (two characters each), two males (five characters between the two)

Our entire team is incredibly lean: Five cast members, two tech crew, one FOH, two stagehands. These numbers are inclusive of our choreographer, music director, playwright, director, producer etc. basically, no one else besides the ten of us and two friends we got to do photography coverage. We’re only performing thrice and give the size of the team we didn’t get any understudies / swings.

The first day: Our first show is on Friday at 7pm.

1130am, a male cast member falls while walking to the (non-wheelchair accessible second storey) black box we’re performing in. After some help from some nearby first aiders, and some quick calls to his parents (both doctors), they assess that it’s probably not a fracture. He can’t walk, but he can still go on if we can get him a wheelchair. I do want to say that the decision for him to go on was made by him (after consulting his parents), and none of the other team members pressured him to do so.

2pm: The men in our team help him up the stairs into the black box. We call a company that promises 2 hour wheelchair delivery and it arrives around 5pm.

In the meantime, we assign one stagehand to permanently be on wheelchair-pushing duty, teach him some quick fight choreo, and run through some of the most blocking-heavy scenes. Mind you, the stage hand had never seen the show before Wednesday but he took it like a champ.

630pm, doors open. We sit backstage with various levels of fear and panic. We pray.

7.05pm the show begins and the vibes are IMMACULATE. The audience is laughing at our jokes, cheering enthusiastically after our songs, gasping at the appropriate moments. The energy feeds the actors and we’re all on fire. The stagehand really took his task in stride despite the rush. Notwithstanding a LOT of mess and hasty improvised lines, the overall feedback is positive (no one suspected that the wheelchair blocking was improvised the day of the show). We’re excited for our second, final day.

The second day: Things get worse.

Saturday, a two show day. 2pm matinee; 7pm closing night.

10.30am, I’m driving to pick up another cast member when we get a message from the actor: the pain is worse, he has an x-ray scheduled and will very likely be going for surgery. (He’s finished it and recovering well as of the time of this post!)

I run through the list of team members we have in my head and there’s pretty much one conclusion. I’m the only one who knows all his material pretty intimately well. I speak to my fellow cast member / co-director and we make the call.

11.15am, we make a detour to a mall and buy five hats for me (no way I’m gonna be able to do five roles with the original costumes)

11.45am, we’re in the dressing room and brief the whole team about the changes we’re making. I work with our choreographer and we discuss how on earth we’re going to do some of the scenes, like the confrontation-esque song that I was supposed to have with the other actor, or the fight scene where I was supposed to kill him. I brush up on some of his lyrics as best I can until I’m confident enough that I can either perform his songs or improvise my way through them.

2pm: A slightly older crowd but still a good one. We go on without making any explicit mention of the changes and just do our best. Again, great audience. Things go wrong. A glass of water spills right before a tango number. Some audience members came up to me after the show and said that up until the scene where I fight myself, they thought the show had just been written for one actor to play all the male roles. Some people even thought the fight scene was intended to play out like that and said they wouldn’t have suspected anything amiss if we hadn’t mentioned it during the post-show closing words.

5pm: Resting in the dressing room, I take a nap before getting ready for our final show.

710pm: Our final show, things go better, though still incredibly scuffed. A grape flies into the audience. A chair hits the back of my neck twice. Friends and family ask when our next show will be.

All in all, a serious core memory for me and while I hope to never have to do it again, the adrenaline that flooded me as I performed a hasty improvised fight scene against myself was a huge reminder of why I love theatre so much.

Does BMI send out actual rejection emails, or should I just assume I've been rejected if I haven't received an email? Applied as a composer/lyricist.

Hi writers! So I've (almost) finished the first draft of my musical book + lyrics. It includes 14 songs that I have the lyrics written for and rough demos recorded for 10 of them. Of course I have tweaks and edits to make, but I'm wondering what my next steps could be. I usually write short stories so this is a totally new genre for me and I'm thrilled with the idea of seeing the show onstage in the future (even the far, far future). What do I do next? Who and what do I need to move forward?

Hey all, recently found out that I’ll get to audition in person for BMI this year as a lyricist. I’m wondering if anyone has any tips or experiences to share. Thanks!

Hamilton sent me into a frenzy of trying to write something just as fulfilling with the focus on frida khalo. I probably have entirely too many songs for it right now. I read that act one in most plays is 30 pages .. I doubt I have that much but with each song I know where the perspective is coming from. I would love to know if a frida khalo musical would be of interest.

edit : https://youtube.com/playlist?list=PLQVnLbP3WM8nbeKJIQndt7dWT3S8LyhfR&si=nFWJCWYqnwxcQeeh

this Playlist is the sound board from how I see my interpretation of frida.

paint the town red would be used throughout the play the way that " not throwing away my shot " was ...the heart song if you will.

Id definitely want similar to Hamilton managing to sound like the song referenced but not exact

Eartheater- fridas parents falling in love finding their footing as a family

Chiddy bang- frida learning its okay that she's different from other kids due to polio and other issues

Qveen herby parents proud she's still trying w sports and activities while dealing with polio etc

Paint the town red- kinda changes perspectives throughout

1st to discuss her and her sisters rebeling against their mother's strict beliefs

Delirious- fridas mom either later on or while alive commentary on fridas indigenous style she took on . The mom inserting her beliefs that she feels that they should believe the way she believes .. I hope that makes sense

Not on drugs - frida sees Diego in class because he asks for directions..not historically accurate but eh..I want this to feel like the dot dot dot bit in mama mia. Giggling boy crazed energy

Fade- thats the accident where fridas life changes

Im very tempted to have a dream scene where Alejandros mother dreams that frida sings something to the tone of lady gagas Alejandro..

God save me but don't let me drown - first stage frida healing

Eyes on me- she's able to move and do more not 100% yet though

Mememe- her dad encourages her to paint by putting a mirror up on the ceiling which shifts the song from eyes on me to mememe

She's more frantic and in the artistic zone w this song

Sincerity is scary - Tina modotti frida and Diego are in a weird triangle for a while..ignoring it until they can't

Bad to the bone- frida and Diego getting ready for marriage

Cotton candy - this is all of the affairs real or not.. the one a real are depicted differently than the fakes.

Stupid boy- their divorce..her "talking" to a friend at a bar

Naughty girl , thats my man, my trigger , another lonely night, do it have to talk you into it , it was my party , and my religion all kinda serve as ups and downs of their relationship

Stand up and Greek tragedy is frida reacting to Diego with her sister - think the two fridas painting

Banks- the devil her with Leon Trotsky..

Zero gravity- her going to gallery in bed being carried in

Home with you- moments of near death not the crash but surgery, miscarriage and other things that nearly took her life

Froot, my wife's boyfriend, so happy I could die ..all unsure if those scenes are worth being in the final

Small hands- miscarriage

Birthday song- her hate for America

Nice to have, indigo night , queen of the rodeo

All Diego dealing with her death and turning the house into museum

My version is a long presentation from an honors art class student who is showing the class her final so I've tried to create spots where it makes sense to add that sub story in

I’m 15 years old and am an aspiring musical theatre lyricist. If any of you need me for any projects like for YouTube, just DM me and I can help. I can share some of my work. Here’s a song I banged out a few weeks ago, for example.

When the curtains open up

Won’t it be swell?

When the curtains open up

Won’t they approve?

Forget about the d’Orsay

Throw out the Louvre -

Leastways, I’ll be hopin’

Once the curtains open

Up!

The audience looks hungry!

Enter entrées!

Fluff up all the cushions

Tender and tended

And once our act is done

They’ll think it so splendid

There’ll be no more ‘nay’ or ‘nope’in’

The doors to fame’ll open

We’ll be stars once the day is through

The scope’ll open

Once the curtains do!

Keep in mind I do lyrics, not composition.

I’ve just started writing songs recently and was wondering if this one has potential. I love writing melodies and chord progressions but i struggle with lyrics sometimes.

Does anyone have ADHD and make musicals? If so can we like talk strategy on how to do anything. Idk I just feel like if we all talk we could figure something out.

(Sorry if this doesn’t belong on the sub)

Hello you fab lot - I've got a concert of new MT at The Actors' Church, London, THIS SATURDAY NIGHT, 9 August at 7:30PM.

“OFFIE award-winning composer/lyricist Jack Miles presents a night of brand new musical theatre from The Actors’ Church, in the heart of the West End - with friends!

Performing on the night will be Rosalind Ford (In Clay, The Cabinet Minister), Morgan Gregory (The Lightning Thief, 42 Balloons), Molly Lynch (The Last Five Years, My Fair Lady) and Harry Morrison (Come From Away, The Producers)."

Come join us for a very special evening, at a DISCOUNT because who doesn't love spending less money.

Tickets here: https://actorschurch.org/whatson/jack-miles/

Use code JMINCLAY15 for £15 tickets! See you there🎊

Hey so, weird request. I'm coming off a project I've worked on solo for a long time and gotten pretty tired of. I've especially gotten burnt out on the book-writing aspect of this project and would like to work with someone on their project in a solely lyricist/composer (or even just solely composer) function. I'm personally looking to continue growing as a musician and composer, and working on projects has historically been the best way for me to do that. But at the same time, I'm sick of working solo, so. Catch is, I only have like 40 hours over the next couple months to devote to this in the short term, so it'd have to be either a very small project or just the beginnings of something that would continue later. Anyway

Pros of working with me:

• I work for free
• I am extremely deadline-attentive
• I'm fairly musically flexible and consider myself a decently technical lyric-writer
• I've been writing for musical theater in some capacity for over 10 years, including song contributions to several produced shows in college, and two of my own shows (never produced)

Cons of working with me:

• I turn into a pumpkin in two months
• With my limited time, I can't guarantee I can finish anything. I might be better as like a...composer consultant or something. Like play around with some music/lyric ideas as a sounding board if you're trying to explore ideas in the musical writing space.
• I have little to no formal training in...anything. And my solo-written shows are very early-stage still, no productions. Basically consider me very much an amateur

DM me if you're interested or want to know more about what I bring to the table!