This page shows the information that will be used to generate the special webpage for your musical. Remember that producers will be able to see this information, so make sure that it is accurate and complete prior to the Pitch Panel week.
If you need to add/edit/update any of this information, just click the "EDIT YOUR MUSICAL" link at the bottom of this page.
YOUR LOGO:
TITLE OF YOUR MUSICAL:
A Sample Musical
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
Book by Jill Writer, Music by Joe Songs, Lyrics by Amy Poet
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
This is an example of a paragraph that will describe your musical. Keep it short - you just want to get someone interested in asking for more! Don't describe the plot in detail - just talk about the theme, why you wrote this musical, and maybe something about the type of music.
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
In this paragraph, you can talk about the history of your musical. Have you had any readings, workshops, or productions? Are you particularly looking for a reading or workshop?
BIOS: (biographies for the members of your team)
Jill Writer (Book) is a really great bookwriter who has done a lot of other great things such as etc.
Joe Song (Music) has had his music performed in lots of amazing places, you can hear it here.
Amy Poet (Lyrics) is thankful to be part of this project because stuff.
CONTACT EMAIL: (the email a producer should use to contact you about your musical
elisedewsberry@gmail.com
WEBSITE: (if you or your musical already have a website, include the full web address here)
https://www.elisedewsberry.com
AUDIO DEMO 1: (you can include up to three audio demos)
AUDIO DEMO 2:
AUDIO DEMO 3:
VIDEO DEMO: (if you have a video demo/trailer/pitch, include the full LINK here)
EDIT YOUR MUSICAL
NOTE: To view how this page will appear to the producers, CLICK HERE
YOUR LOGO:
TITLE OF YOUR MUSICAL:
Black Dahlia
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
Book & Lyrics by Courtney Leigh Heins, Music by Courtney Leigh Heins & Mary Morales
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
In January of 1947, aspiring actress Elizabeth "Betty" Short is on the verge of stardom when she is found dead in an empty lot in South Los Angeles. Her rival Mallory Martinez picks up where Betty left off, taking over a coveted studio contract and enjoying fame and all of Hollywood’s what-ifs, but she is far from the only one with a motive in the unsolved murder of the Black Dahlia. When LAPD Detective Joe Fresno begins to question Betty's closest contacts, he embarks on a winding exploration of the social pressures, misogyny and racism of 1940s Hollywood.
Inspired by the stories of Raymond Chandler, the film noir of Howard Hawks and Billy Wilder, and the show-stopping musicals of Rodgers & Hammerstein and Cole Porter, Black Dahlia intertwines historical true crime with a soaring big band score, and haunting ballads that will follow you home.
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
Black Dahlia was written in an 18-month musical writing workshop at the Songwriting School of Los Angeles, taught by Broadway and Motown veteran Bob Garrett. It was given virtual readings in August 2022 and February 2023 before undergoing several rewrites and dramaturgical review through Ken Davenport's Theatermakers mentorship program. All 19 songs have been orchestrated, arranged, and demoed. Courtney and Mary were honored to be 2024 O'Neill NMTC Semifinalists for Black Dahlia, and Courtney was honored to be a 2023 Jonathan Larson Grant Finalist based on this work. As a female songwriting team from Los Angeles telling the quintessential LA true crime story, we are looking for an opportunity to workshop this piece while building a strong creative team. We hope to attract producers who are as passionate about this story as we are, to help usher this show into production in Los Angeles, New York or beyond. Thank you for your consideration.
BIOS: (biographies for the members of your team)
Courtney Leigh Heins (book, lyrics, music), a 2024 O'Neill NMTC Semifinalist and 2022 Jonathan Larson Grant Finalist, combines Americana music with compelling stories about life from the Heartland to Hollywood. Courtney has performed at SXSW, the Sundance Film Festival, Anchorage Folk Festival, The Abbey Theatre in Dublin and The Bluebird Cafe in Nashville. She has released four albums, with her title track "Bright Blue World" winning IMEA Country Song of the Year and earning her an invitation to perform on Park City TV with Adam Gaynor of Matchbox 20 and at Tapestry: A Day for Women, where she opened for keynote speaker Marilu Henner. In 2017, Courtney was honored with a music fellowship from Women in Film, Los Angeles. Her music has been featured on KCRW’s Morning Becomes Eclectic and in over 60 television shows including “Dance Moms,” “Heartland,” Poland's "M Jak Milosc," and Amgen's Stand Up to Cancer campaign with Patrick Dempsey. Her songs have garnered over 1.5M YouTube streams and charted in Poland and Australia. Courtney earned a Bachelor of Arts from Boston College in Theatre and English, and won the 1st annual BC playwriting award for her religious allegory "Feeding Sparrows." As a playwright, she has also workshopped and produced "The Adam & The Eve" and "Uncle John's Band.” Current musical works in progress include “Black Dahlia” and "The Root Beer Stand." Courtney is a member of SAG-AFTRA, NARAS, ASCAP and the Dramatists Guild. She currently resides in Los Angeles. Mary Morales (music), 2024 O'Neill NMTC Semifinalist, graduated with honors in theatre and music from Knox College and has gone on to work as a writer, composer, producer, singer, and multi-instrumentalist throughout the United States. She currently resides in Los Angeles, continuing to create and collaborate as a multi-faceted artist in the film, theatre, and music industry. Mary is the lyricist and co-composer at Throughline Music Production—built in 2016 with fellow co-founder and composer, Brenton Costa. Throughline’s music has been featured in Disney theme parks, as well as Netflix and Amazon Prime productions. They are currently orchestrating their first animated musical short, created by Costa with lyrics and music by Morales. Her first EP “Short Songs on Melancholy Longings” by My Friend Mary can be found across all streaming platforms, with her sophomore release “Hum” set to follow.
CONTACT EMAIL: (the email a producer should use to contact you about your musical
cheins26@gmail.com
WEBSITE: (if you or your musical already have a website, include the full web address here)
https://blackdahliathemusical.com
AUDIO DEMO 1: (you can include up to three audio demos)
AUDIO DEMO 2:
AUDIO DEMO 3:
VIDEO DEMO: (if you have a video demo/trailer/pitch, include the full LINK here)
EDIT YOUR MUSICAL
NOTE: To view how this page will appear to the producers, CLICK HERE
YOUR LOGO:
TITLE OF YOUR MUSICAL:
Botanic Garden The Musical
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
BIOS: (biographies for the members of your team)
CONTACT EMAIL: (the email a producer should use to contact you about your musical
WEBSITE: (if you or your musical already have a website, include the full web address here)
AUDIO DEMO 1: (you can include up to three audio demos)
AUDIO DEMO 2:
AUDIO DEMO 3:
VIDEO DEMO: (if you have a video demo/trailer/pitch, include the full LINK here)
EDIT YOUR MUSICAL
NOTE: To view how this page will appear to the producers, CLICK HERE
YOUR LOGO:
TITLE OF YOUR MUSICAL:
Genevieve, the Experiment
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
Book, Music, and Lyrics by David Jay Willis
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
BIOS: (biographies for the members of your team)
CONTACT EMAIL: (the email a producer should use to contact you about your musical
WEBSITE: (if you or your musical already have a website, include the full web address here)
AUDIO DEMO 1: (you can include up to three audio demos)
AUDIO DEMO 2:
AUDIO DEMO 3:
VIDEO DEMO: (if you have a video demo/trailer/pitch, include the full LINK here)
EDIT YOUR MUSICAL
NOTE: To view how this page will appear to the producers, CLICK HERE
YOUR LOGO:
TITLE OF YOUR MUSICAL:
IMAGINARY GIRL: The Occupation of Patty Hearst (an alternative identity musical)
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
IMAGINARY GIRL has been developed by a team of Interdisciplinary Artists & Associates for 5DMEDIALAB ♦ Book, Lyrics + Music: Leonard Dolivio Cetrangolo ♦ Creative Partner + Artistic Advisor: David Silverman ♦ Associate Composer + Additional Music: Spencer Teeter ♦ Interim Arrangements: Gary Adler ♦ Arts Activist + Dramaturg: Felirene Bongolan ♦ Dramaturg + Consultant: Patricia Cotter ♦ Race + Gender Advisor: Dr. Kathleen Tarr ♦ Complex Trauma + Dissociative Identity Advisor: Dr. H L Schwartz
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
Part – Heartbreaking Family Drama – Psychological Thriller – Spectacular Farce – True Crime Mystery 100% New Independent Musical Theater xx IMAGINARY GIRL: The Occupation of Patty Hearst (an alternative identity musical) Set in 1974, this ALL-ORIGINAL MUSICAL HISTORY PLAY responsibly tells the TRUE STORY of the political kidnapping of 19-year-old Patty Hearst. After being held captive for 59 days by a ragtag militant group, she emerges declaring her new identity as Tania and her “choice” to join her kidnappers' mission to overthrow the US government. As her ongoing ordeal unfolds it’s dissected, distorted, and exploited by The News Media, and holds the world spellbound as Patty changes from an innocent victim into a fugitive outlaw right in front of our eyes. The play’s unbelievable true story centers on a strong complex protagonist who eventually discovers she’s the only one who can save herself. The play examines how The News Media – along with the criminal-justice/ incarceration system, and the mental health system – misinterpret, exploit, and compound the suffering of trauma victims, while its central character models survivorship, hope, and healing. This new work’s unique underlying subject matter speaks to the psychological and spiritual dilemmas of survivors of child abuse, domestic violence, military combat, extremist religious & political cults, and human trafficking. Through a not-so-distant mirror... The play takes on A NEWLY-EMERGING 21st CENTURY THEME: THE DISINTEGRATION OF CONSENSUS REALITY – the end of our once-universal & once-dependable shared reality. The play prompts the question: HOW MUCH OF OUR PERSONAL & POLITICAL IDENTITY IS GUIDED BY FORCES BEYOND OUR OWN FREE WILL? The story explores: TRAUMA’S IMPACT ON IDENTITY & how ALL CONFLICTS – INTERNAL, INTERPERSONAL, AND POLITICAL – ARE BATTLES OF COMPETING VERSIONS OF REALITY. Ultimately, IMAGINARY GIRL: The Occupation of Patty Hearst is AN UPLIFTING STORY OF SURVIVAL, SELF-DISCOVERY & SELF-LIBERATION, as its historic central-figure triumphantly overcomes seemingly impossible internal and external obstacles.
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
IMAGINARY GIRL has been developed by
a team of Interdisciplinary Artists & Associates
for 5DMEDIALAB
2023 — NATIONAL SEMI-FINALIST The Eugene O’Neill National Musical Theatre Conference 2021 — INTERNATIONAL WORKSHOP of selected scenes La Mama International Director’s Symposium — Umbria, Italy 2021 — 2 READINGS (one week apart) with invited audience Felirene (Fe) Bongolan – Arts Activist + Dramaturg — 5DMEDIALAB, San Francisco 2021 — 2 READINGS (one week apart) of selected scenes with invited audience Dr. Kathleen Tarr – Race + Gender Representation Advisor — 5DMEDIALAB, San Francisco 2020 — WORKSHOP to develop NEW SCORE ARRANGEMENTS for all songs – still need new vocal demos Gary Adler – Veteran B’way MD + Interim Arranger — 5DMEDIALAB, San Francisco 2019 — ARTIST IN RESIDENCE WORKSHOP on Physical Narrative SafeHouse Arts – ARTIST IN RESIDENCE — San Francisco 2018 — A STAGED READING & Community SHOWCASE Production – juried selection The Marsh Theater – San Francisco 2017 — A READING of SELECTED SONGS & SCENES – with invited audience Patricia Cotter, Dramaturg + Consultant — 5DMEDIALAB, San Francisco 2016 — Musical Café DEVELOPMENT LAB – juried selection San Francisco — *Winner: AUDIENCE FAVORITE* 2016 — A STAGED READING – with invited audience Nancy Hayes Casting Studio — San Francisco 2016 - 2024 — AN ONGOING SERIES OF INFORMAL READINGS – with invited audience Dr. Harvey L. Schwartz — Clinical Psychological Consultant – San Francisco -------------------------- 2025 DEVELOPMENT UPDATES -------------------------- NEW ARRANGEMENTS (2025) – MIDI Instrumentalizations; vocal demos not yet recorded: We now have new arrangements of all our songs – developed in collaboration with a veteran B’way music director and arranger. We’re still scouting for the resources to record these updated arrangements/demos with skilled vocalists & an innovative music producer/recording engineer. DEVISED CHOREOGRAPHY (2025) – in progress: We’re in the early stages of devising an adjunct layer of innovative Movement Direction across the whole play. Our approach prioritizes naturalistic physical gestures/stylized-movement/tableaux compositions that emerge organically from each character’s inner subjectivity. We intend to bypass stereotypical choreography’s unmotivated or contrived “antics” – instead, we are embracing an internally driven approach, grounded in the principles of top-tier non-musical stage acting. COSTUME RESEARCH + CONCEPT DEVELOPMENT (2025) – in progress: While the costume design will be anchored in historical 1974 clothing styles, our concept aims to transcend the literalism of conventional period “wardrobe” often seen on stage, film, and TV – instead, our intention is to conjure an artfully curated parallel reality – hovering a half-step above historical authenticity. In keeping with the play’s themes of meta-theater and shapeshifting identity, ensemble members will transform on stage, changing costumes & identities in full view of the audience. LOW-COST IMMERSIVE INSTALLATIONS (2025) – in progress: Expanding the play’s theatrical experience beyond the stage – by BLURRING THE BOUNDARIES between the play's venue and its storyworld – we intend to further the show’s theme/subject-matter of entangled realities. – SLOW-MOTION VIDEO PROJECTIONS: A hypnotic collage of vintage 1970s stock footage artfully blended with fleeting abstracted imagery from the show. – DREAMLIKE SOUNDSCAPES: TIME-STRETCHED SCORE mashed-up with fragments of lectures on brainwashing & identity, interwoven with expressionistic snippets of the show’s dialogue. ♦ INSIDE: These elements transform the lobby, restrooms, merch area, concessions, venue bar/lounge & inside partnering nearby bars. ♦ OUTSIDE: On and around the building’s façade, sidewalk, & outside partnering nearby bars. ♦ ONLINE: 5DMEDIALAB’s Hackstage Online is an INTERACTIVE DIGITAL LAYER accessed online, and optimized to experience on theatergoers' SMARTPHONES. This platform concept combines augmented reality & live video feeds into an gamified open-world experience. With puzzles and prizes – solved/won with both collaboration & competition – this innovative platform will significantly amplify audience engagement. By repurposing backstage spaces and integrating participating cast & crew’s social media – Hackstage Online can radically expand a theater’s reach while cultivating new brand partnerships & unlocking new revenue opportunities.
BIOS: (biographies for the members of your team)
fuydsaf
LINK TO: New MIDI Arrangements
CONTACT EMAIL: (the email a producer should use to contact you about your musical
leonard.dolivio@5dmedialab.com
WEBSITE: (if you or your musical already have a website, include the full web address here)
https://www.imaginarygirlmusical.com/
AUDIO DEMO 1: (you can include up to three audio demos)
AUDIO DEMO 2:
AUDIO DEMO 3:
VIDEO DEMO: (if you have a video demo/trailer/pitch, include the full LINK here)
EDIT YOUR MUSICAL
NOTE: To view how this page will appear to the producers, CLICK HERE
YOUR LOGO:
TITLE OF YOUR MUSICAL:
Love Is Afoot!
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
BOOK by - Michael LaFata and Perry Sachs; MUSIC by - Kevin Guillaume and Perry Sachs; LYRICS by - Perry Sachs
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
A Fresh Take on a Classic Style
Love Is Afoot!, an outlandish romantic comedy, is a fresh, bold, and wildly entertaining new musical that uses foot and shoe fetishism as clever metaphors for feeling different and facing discrimination—all through a lighthearted, witty, and unexpected lens. Think Singin' in the Rain done by John Waters. At its core, the musical follows one man’s offbeat quest to find his “sole-mate”— a mission filled with surprising twists, outrageous encounters, and deeply human truths.
Set in the 1940s, the show heightens the tension of forbidden love while paying homage to the Golden Age of musicals with an exhilarating, award-winning Big Band, Swing, and Jazz-infused score. Each song is distinct, vibrant, and filled with clever, fun and poignant lyrics. From romantic ballads to gospel revivals and roaring ensemble numbers, the music is as thrilling as it is unforgettable. At a time when society is grappling with questions of censorship, exclusion, and identity, Love Is Afoot! delivers a timely, thought-provoking message about self-acceptance and tolerance—reminding us that true freedom lies in embracing who we are and loving without limits.
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
The Evolution of Love Is Afoot!: A Journey from Screen to Stage
Originally conceived as a musical feature film based on an award-winning film noir short, Love Is Afoot! took an unexpected turn when the pandemic hit. Just as we completed a 15-song soundtrack, the world shut down—forcing us to rethink our path forward. With theaters dark and little interest in streaming, we pivoted to the stage and never looked back.
Adapting the screenplay into a full-scale theatrical musical, we expanded the story, refined the music, and elevated the show’s theatricality. Recognizing the need for a standout sound, we brought in renowned Big Band arranger Tim Davis to enhance the score—ensuring the music would shine as brightly as the story itself. The result? A bold, dynamic soundtrack that sweeps audiences from laughter to love with unforgettable melodies.
In late 2021, we staged a live table read with 10 actors and the recorded demos, earning an overwhelmingly enthusiastic response. Building on that momentum, we mounted a successful workshop production in 2023 at the Miller Center for the Arts in Pennsylvania with 4 shows over first 2 weekends of August. With a cast of 17, an 8-piece orchestra, and a dedicated creative team of 23, the shows received standing ovations and left audiences wanting more.
Armed with insights from the workshop, we refined the script, added two new songs—including a high-energy Act II opener—and sharpened the production. The results have been extraordinary. To date, Love Is Afoot! has earned 9 awards, including 4 Best Song awards for its torch ballad Special Someone, 4 Best Screenplay awards (from its film days), and most recently, secured Semi-Finalist status at the prestigious 47th annual Eugene O’Neill National Music Theater Conference for 2025.
Love is Afoot! is arriving at a moment when the cultural conversation about inclusion, acceptance, and challenging outdated norms couldn’t be more relevant. We’re at a crucial juncture—where timing truly is everything. As we move forward, we’re actively seeking the right theater partners, sponsorship collaborations, and a seasoned theatrical producer to help bring Love Is Afoot! to its next evolution—on a bigger stage and in front of a broader audience. With perfect timing and strong momentum, we can’t wait to take audiences on this toe-tapping journey through the wonderful and unexpected mess that is love.
BIOS: (biographies for the members of your team)
The Feet Behind the Musical
Michael LaFata is a writer and producer with a background in business, blending creativity with strategy in an improbable yet successful fusion. From making his first short film at 12 to performing improv, sketch, and stand-up in San Francisco, Oakland, and Los Angeles throughout his 20s and 30s, comedy has always been his lodestar, whether writing or performing. At the same time, he thrived in the corporate world, eventually leading the London office of a major U.S. company.
He founded his production company, laceyface, in 2005 and in 2006, stared and executive produced his a film noir short, F, a 1940s dark comedy and the inspiration behind his current project. In 2010 be began adapting F into a romantic comedy musical, Love Is Afoot! In 2010, he left the suit, returned to LA and fully committed to storytelling.
Since then—and a 15-song soundtrack later—his musical Love Is Afoot! has won multiple Best Screenplay (during its film days) and Best Score awards, recently securing Semi-Finalist status at the prestigious 47th Annual Eugene O’Neill National Music Theater Conference for 2025. He continues to develop the show while working on several other projects, including his first comedic thriller.
Perry Sachs - From inspiration to creation and everything in-between, Perry has a working knowledge of just about every aspect of the entertainment industry. He can do it all but has focused most of his abilities in the world of comedy.
After moving to Los Angeles from his hometown Washington DC, Perry honed his skills, writing and performing at such comedic institutions as The Groundlings, ACME Comedy Theater and the world-famous Comedy Store on Sunset Blvd.
Perry has seized his opportunities to write, produce and direct for some of the funniest entities on the planet, including Saturday Night Live and The Jim Henson Company. Perry currently works for Adam Sandler at Happy Madison Productions and lives in North Hollywood with his wife Julia, their amazing daughter Marley and their ridiculous pets.
Kevin Guillaume - Kevin Guillaume was born into show business! As the son of two-time Emmy & Grammy winning actor Robert Guillaume, he was introduced to the business at an early age. His first job in the business was at 9 years old in “Porgy & Bess” in Israel. However, Kevin knew that his career path would not be acting, but music instead.
After performing with various traditional and fusion jazz bands in the St. Louis area, Kevin furthered his musical education by attending The Dick Grove School of Music in Los Angeles where he majored in Jazz composition and theory.
Over the last 30 + years he has written for, or performed with: Gladys Knight & The Pips; Earth, Wind, & Fire; David Foster; Deniece Williams; Carl Anderson; Johnny Gill and The Whispers, as well as composing for TV: Homeboys in Outer Space (UPN), Between Bros. (FOX), and Happily Ever After (HBO).
Tim Davis - Interested in hearing Tim Davis? Chances are, you already have. Tim Davis has worked on over 100 feature films and television shows, including The Lion King, Beauty and The Beast, Indiana Jones, the entire 6 seasons on Fox’s hit series Glee, The Goldbergs, American Horror Story, American Idol, The Oscars, and more.
Tim’s collaborations as studio singer, vocal contractor, and arranger/producer span the music industry in seemingly every direction. In fact, it’s hard to escape Davis’s musical mark. If you’ve been to a Disney theme park, played a video game, bought a pop album, seen a TV show, commercial, or film in the last 20 years, it’s likely your interest has been piqued by Tim’s personal vocal stylings, or his innovative vocal arrangements, delivered by the army of LA’s best and brightest vocalists filling his roster.
Additionally, having sung recently with Barbra Streisand on her World Tour and performing comedic stage shows with Emmy and Golden Globe Award winner Jane Lynch and Kate Flannery, Tim has become one of the most trusted top level producers and performers in his field. Further driven to mentor and develop the next generation of vocalists, Tim founded the Studio Singer Intensive (SSI) in 2014 to cultivate and train aspiring talent from around the nation. “At some point in all of our careers we need to “pass the baton” to the younger generation. I have made it my intention to mentor and promote the next generation of studio singers and industry leaders. This is a passion of mine which I plan to continue to the end of my life.”
CONTACT EMAIL: (the email a producer should use to contact you about your musical
mlafata1010@gmail.com
WEBSITE: (if you or your musical already have a website, include the full web address here)
https://www.loveisafoot.com
AUDIO DEMO 1: (you can include up to three audio demos)
AUDIO DEMO 2:
AUDIO DEMO 3:
VIDEO DEMO: (if you have a video demo/trailer/pitch, include the full LINK here)
https://vimeo.com/867298229
EDIT YOUR MUSICAL
NOTE: To view how this page will appear to the producers, CLICK HERE
YOUR LOGO:
TITLE OF YOUR MUSICAL:
Lustily Ever After
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
BIOS: (biographies for the members of your team)
CONTACT EMAIL: (the email a producer should use to contact you about your musical
WEBSITE: (if you or your musical already have a website, include the full web address here)
AUDIO DEMO 1: (you can include up to three audio demos)
AUDIO DEMO 2:
AUDIO DEMO 3:
VIDEO DEMO: (if you have a video demo/trailer/pitch, include the full LINK here)
EDIT YOUR MUSICAL
NOTE: To view how this page will appear to the producers, CLICK HERE
YOUR LOGO:
TITLE OF YOUR MUSICAL:
More
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
BIOS: (biographies for the members of your team)
CONTACT EMAIL: (the email a producer should use to contact you about your musical
WEBSITE: (if you or your musical already have a website, include the full web address here)
AUDIO DEMO 1: (you can include up to three audio demos)
AUDIO DEMO 2:
AUDIO DEMO 3:
VIDEO DEMO: (if you have a video demo/trailer/pitch, include the full LINK here)
EDIT YOUR MUSICAL
NOTE: To view how this page will appear to the producers, CLICK HERE
YOUR LOGO:
TITLE OF YOUR MUSICAL:
MORTGAGE MELTDOWN: THE MUSICAL
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
BIOS: (biographies for the members of your team)
CONTACT EMAIL: (the email a producer should use to contact you about your musical
WEBSITE: (if you or your musical already have a website, include the full web address here)
AUDIO DEMO 1: (you can include up to three audio demos)
AUDIO DEMO 2:
AUDIO DEMO 3:
VIDEO DEMO: (if you have a video demo/trailer/pitch, include the full LINK here)
EDIT YOUR MUSICAL
NOTE: To view how this page will appear to the producers, CLICK HERE
YOUR LOGO:
TITLE OF YOUR MUSICAL:
Off the Beaten Path
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
BIOS: (biographies for the members of your team)
CONTACT EMAIL: (the email a producer should use to contact you about your musical
WEBSITE: (if you or your musical already have a website, include the full web address here)
AUDIO DEMO 1: (you can include up to three audio demos)
AUDIO DEMO 2:
AUDIO DEMO 3:
VIDEO DEMO: (if you have a video demo/trailer/pitch, include the full LINK here)
EDIT YOUR MUSICAL
NOTE: To view how this page will appear to the producers, CLICK HERE
YOUR LOGO:
TITLE OF YOUR MUSICAL:
On Top of the World
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
Book, Lyrics, Music by Yuri Worontschak
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
On Top of the World is a musical about Tracy Clifford, a teenage surfer and marine biology prodigy from Australia. Awarded a scholarship to study at California State University, Tracy balances her academic pursuits with her passion for surfing. Before leaving, she competes in the Bells Beach International Surfing Competition, where she meets Errol, a charming American surfer.
As Tracy navigates her budding relationship with Errol and her passion for marine life, she discovers a way to communicate with marine creatures using AI technology. Tracy qualifies for a prestigious competition in Hawaii, where her innovations and surfing skills take centre stage. However, she faces challenges as a woman competing in a male-dominated sport. With the support of Errol and her friends, Tracy defies expectations and pushes for equality while using her platform to raise awareness about environmental issues.
Along the way, she confronts personal dilemmas and forms a deeper connection with herself and the world around her. The story culminates in a thrilling surf-off, in which Tracy, disguised as Errol, triumphs in the men's competition but is disqualified for being a woman. Undeterred, Tracy uses the media attention to amplify her message about protecting marine life. The musical blends adventure, romance, and environmental activism, highlighting Tracy's journey of self-discovery and empowerment.
It's GIDGET 2.0 meets Surfin' HANNAH MONTANA.
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
Keep in mind the 2028 LA Olymics are in 3 years and the 2032 BRISBANE (ie Surfers Paradise) Olympics are in 7 years. Surfing will become a 100% fully fledged event in 2032. The musical is set in both countries and is crying out for funding. The musical is structured in "concert" form and is intended for performance on both stage and screen. It has just been completed, and no readings have taken place yet. The music is in excellent shape, and a soundtrack album is available on all streaming platforms. There is also a 90 minute "podcast" on youtube. I am hoping to bring it to the stage with the help of some readings and dramaturgy.
BIOS: (biographies for the members of your team)
Yuri Worontschak yuri.au Yuri is a multi-award-winning composer who has worked on over twenty feature films, hundreds of television programmes and eight musicals: Musical Theater yuri.theater All my musicals are available as full-length podcasts and have accompanying screen pitches. Illuminati Lizards from Outer Space (with Paul Western-Pittard) had an off-Broadway run in 2019 and opened the NYMF festival. One step ahead of America for “crazy” Cruising Broadway A ship full of gay passengers gets lost in the Bermuda Triangle. What could go wrong? On Top of The World A story about a teen surfing girl beating the men with her magical multi-coloured wetsuit. My Voice A K-popera for modern times: Love and Identity theft in the age of AI. Margaret Fulton: I Sang for My Supper (with Doug McLeod) is currently touring Australia and has had over a hundred performances. Main Man Yurii a 90s RAVE featuring the legendary Ukrainian Australian rap duo. Malibu Surfers (with Ian McFadyen) Generation on demand The Love is Love Boat Bondi High with Brendan Luno) had a ticketed public read at Bondi Pavilion (Sydney 2019) MT Playlist Screen composition yuri.film Credits include Love the Beast (Eric Bana), Take Away (Rose Byrne), You and Your Stupid Mate (Nathan Philips), The Mao Game (Kirsty Alley and Piper Laurie), Little Oberon (Sigrid Thornton) and Halifax f.p.(Essie Davis). Animation: Dogstar (Disney), The Flaming Thongs, Lil’ Larrikins, Animalia (Emmy Award) and Never Mind the he Gumwalds (Disney). Television: Utopia, Mad as Hell, Newstopia and Your Generation (Shaun Micallef), The Art of Australia (BBC/ABC) Big Girls Blouse (Kath and Kim), the AFI Awards (Hugh Jackman), Agony Uncles and Aunts, Sit Down Shut Up, Hamish and Andy, Letters and Numbers, Big Bite (Chris Lillie), Fast Forward (Magda Szubanski), Full Frontal and Comedy Company. Screen Playlist Production kinesound.com As a score supervisor and music producer Yuri has worked on many international movies and events including: It Runs in the Family (Michael and Kirk Douglas), Empire Falls (Philip Seymour Hoffman and Paul Newman), Shiner (Michael Caine), the Sydney Olympics Opening Ceremony and the Sydney Para-Olympics Closing Ceremony, Neighbours, One Night the Moon (Paul Kelly), Human Touch (Katie Noonan), Nijinski (Derek Jacobi, Paul Cox), The Fine Art of Love (Jaqueline Bisset) and Unfolding Florence (Gillian Armstrong). Yuri was synth supervisor for Jerry Goldsmith on "Warlock". As record producer Yuri won multiple platinum albums (production and engineering) on Anthony Warlow’s first two breakout orchestral albums “Centre Stage” and “On the Boards”. He has produced music for Peter Andre (“Give a Little Sign”), Peter Cousens (“Love Changes Everything”), Jamie O'Neil, Russell Crowe,Jason Donovan and Diana Krall. He headed a record label "Divine Comedy" for Sony Music releasing a number of records. kinesound.com Yuri was musical director and composer for the Centenary of Federation Concert (Deborah Byrne, Deborah Cheetham and Todd McKenny), Circus Oz, Outer Sink (Nigel Triffit and Lost Trios Ringbarkus), Bond-arama, Tiny Tim’s Australian tour, every network televised Comedy Gala (Bea Arthur, Terry Jones, Jason Byrne and Lenny Henry etc.) and Micallef Tonight (Jose Feliciano, Percy Sledge and Delta Goodrem) As a musician Yuri was a member of the Christie Allen Band, one half of legendary 90's rap duo Special K and Main Man Yuri and founding member of supergroup Way Back Five, which featured Michael Hutchence of INXS, Kate Ceberano and James Reyne. Production Playlist
CONTACT EMAIL: (the email a producer should use to contact you about your musical
yuri@yuri.com.au
WEBSITE: (if you or your musical already have a website, include the full web address here)
https://ontopoftheworld.com.au
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Purplestiltskin
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
Book, music, and lyrics by Alex Meleras
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
Purplestiltskin represents a thoroughgoing transformation of one of the most confusing and meaning-evasive fairytales ever told, that of "Rumpelstiltskin." In this new story, Olivia Mueller's precarious avoidance of death and rapid but unwanted rise to the queendom of Rockton - thanks to her foreboding deals with a mysterious imp man - are taking place in the context of political turmoil, betrayal, revolution, and the impending collapse of the monarchy. As such, the imp, (with his own ambitions and rivals back in Imp City,) is not the only intriguant who would like to take possession of Olivia's newborn baby.
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
BIOS: (biographies for the members of your team)
Alex Meleras is a recent graduate of Concordia University (BFA in Music) and a pianist / songwriter / composer by trade. He has released a number of original songs, created a Hannah Montana parody album called Double Life, and composed scores for projects such as Musical Without a Cool Acronym and Where Darkness Grows. Purplestiltskin is his first full-length original musical, but it will not be his last.
CONTACT EMAIL: (the email a producer should use to contact you about your musical
ameleras10@gmail.com
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Siddhartha: Seeker of Truth
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
Book, music, and lyrics by Greg Shepherd
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
SIDDHARTHA: SEEKER OF TRUTH A Hero’s Journey SHORT SYNOPSIS: With Hermann Hesse’s classic novel “Siddhartha” as a jumping off point, “Siddhartha: Seeker of Truth” is a musical comedy setting of the mythic “hero’s journey”. In this show, the hero is a young college student whose journey is a quest for meaning in his life, a quest which ultimately brings all of the main characters to a higher level of meaning in their lives as well. He quits college and ropes his best friend into joining him on his journey that is by turns hilarious and deeply thought provoking. FULL SYNOPSIS: With Hermann Hesse’s classic novel “Siddhartha” as a jumping off point, “Siddhartha: Seeker of Truth” is a musical comedy setting of the mythic “hero’s journey”. In this show, the hero is a young man whose journey is a quest for meaning in his life, a quest which ultimately brings all of the main characters to a higher level of meaning in their lives as well. Arthur Hope, Jr., a college student, reads “Siddhartha”, and decides to quit college to go on a search for truth in his life. He stops off at home in the village of Bountiful Peninsula, which is in the midst of a religious dispute. To resolve the dispute, they arrange a marriage between Arthur, who is from one of the two sects, and his longtime girlfriend, Patience Puregood, who is from the other. But Arthur is having none of this arranged marriage business. He announces that he is going on a search for truth and enlightenment, just like the title character of Hesse’s novel. And he’s also changed his name to…Siddhartha, which means ‘seeker of truth’. The townspeople call in Ace Hurlbut, the village’s richest citizen, who tries to persuade Siddhartha to find peace of mind like he did…by being richer than everyone else. He makes his materialistic points with his song “Gravy Train”. Siddhartha tells Ace Hurlbut that he wants no part of his life of materialism, so the townspeople drag him to the village psychiatrist, Dr. Scrooby (the Threshold Guardian of myth). Dr. Scrooby analyzes Siddhartha and concludes that he must be insane to want to leave Arcadia, and he announces that Siddhartha will be committed to the Scrooby Institute for Malcontents, Maniacs and Lunatics, all the while singing his signature song, “God Is Not a Sentimentalist”, an anthem to his patented product, Scrooby’s Miracle Oil and Brain Cleanser. Siddhartha escapes from Dr. Scrooby and ropes his best friend, Farley Riggle (the archetypal Ally), into joining him on his search for meaning in life. They must leave behind their girlfriends, Patience Puregood and Dolores Del Fuego, who are heartbroken. Farley agrees very reluctantly to join Siddhartha, and together they go off in search of enlightenment for Siddhartha, and any loose young women they might encounter along the way for Farley. They begin their journey with the archetypal call to adventure, a song titled “Portals of Mystery”. After they leave Arcadia, their series of misadventures eventually leads them to the Commune of the Manifest Ecstasy, a cult by any other name, where the Father Benevolent, their leader, has just died. The commune members are frantically searching for a successor, and by a zany turn of events, they choose Farley, the most unspiritual character in the whole show, to be their next Father Benevolent. But he’s soon discovered to be a fraud, and he and Siddhartha are thrown in jail. Their girlfriends and Ace Hurlbut, who have come to do an intervention on Siddhartha, have arrived on the scene, and they too are thrown in the commune jail. After escaping from the jail, Siddhartha declares his intention of continuing his search for truth, but Farley and the others have had enough and want to go home. So, Siddhartha goes off on his own. But not long thereafter he gets lost, and he wanders for forty days and forty nights in the wilderness, at the end of which time he is losing his mind. He decides to end his life. Suddenly there appears on the scene the Angel of Death. Through a case of mistaken identity, she tells him that it’s ‘not his time’ and that he needs to go on living despite his existential despair. She points him in the direction of a character known as the Man of No Wisdom, the archetypal Mentor figure of myth, who lives within a remote grove of apple trees. The Man teaches him that he must find himself by losing himself. Siddhartha is puzzled. How can one find oneself by losing oneself? Just as he is puzzling over this conundrum, his best friend Farley suddenly appears, telling him that Patience Puregood is close to death. Siddhartha accompanies Farley back to Arcadia. Upon seeing Patience on her sickbed, Siddhartha realizes that the meaning of his life has been there all along. The Man of No Wisdom was right: Siddhartha can only find himself by losing himself, in his case through his love for Patience. The show concludes with Siddhartha and Patience getting married and the townspeople uniting under their new church: the Church of Boundless Loving-Kindness. A final reveal of the show is that the Narrator is actually Farley who has written the show we've just seen as a memoir of his youth.
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
"Siddhartha: Seeker of Truth" had its very successful premiere as a non-professional production in May 2023 at Kauai Community College. I am looking to have it produced professionally as the next logical step in its development.
BIOS: (biographies for the members of your team)
BIOGRAPHICAL STATEMENT Gregory Shepherd (playwright, composer, and lyricist of “Siddhartha: Seeker of Truth") I spent my early years in New York City's Lower East Side; New Jersey; London, England; and Honolulu. I was the recipient of a graduate fellowship from the Japanese Ministry of Education for music study at Tokyo University of Fine Arts and Music, where I studied music composition and vocal performance. I am fluent in Japanese. I have also studied operatic and musical theatre performance, and was cast in leading roles in a number of productions, notably Figaro in Mozart’s “The Marriage of Figaro”, Paul Berthalet the puppeteer in “Carnival”, Emile DeBecque in “South Pacific”, El Gallo in “The Fantasticks”, and Don Quixote in “Man of La Mancha”. I was the classical music critic and a feature writer for the Honolulu Advertiser, Hawaii's main daily newspaper, for ten years. I have two master's degrees in music and am currently a Professor of Music at Kauai Community College. I studied piano for many years and have facility in advanced works such as Chopin ballades, Beethoven sonatas, and Bach English Suites among other concert pieces. I have composed music in numerous genres, from orchestral to solo song, but “Siddhartha: Seeker of Truth” is my first full-length musical.
CONTACT EMAIL: (the email a producer should use to contact you about your musical
shep@hawaii.edu
WEBSITE: (if you or your musical already have a website, include the full web address here)
https://www.siddharthaseekeroftruth.com/
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The Curse of Batvia
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
Book & Lyrics by Katherine Burger; Music by Roland Tec
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
Gilbert & Sullivan meet The Mystery of Irma Vep in this original, four character musical comedy, a Romantasy-tinged Gothic romp about an ancient werwolf curse and those caught in its jaws. It involves much convoluted wordplay - P. G. Wodehouse on speed- , silly folkloric dancing and sillier songs, with no agenda except entertainment. LADY ANTHEA, recently (and falsely) married to LORD RODERICK RECLUSE, is a wer-panther from Batvia; she and her wer-wolf brother GUNTHER have come to England seeking the Book of Spells that will undo their lycanthropic curse. CHIEF INSPECTOR COTTAGE investigates two gory deaths and realizes that the siblings are implicated and he must arrest them, even though he’s falling in love with Anthea. The Batvians escape, with Cottage and Roderick in pursuit. The counter-spell goes awry, and everyone ends up where they should: Gunther reveling in remaining a beast; Lord Roderick gleefully hunting him; and Cottage and Anthea in each other’s arms.
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
Katherine developed this show at the BMI music theater workshop, and was awarded BMI’s Harrington Award for the libretto. The Curse of Batvia has had several staged readings, including at the Dramatists Guild Richard Rogers Room; The Emerging Artists Theater Festival, in NYC; The Manhattan Musical Theater Lab; and the Maverick Concert Hall in Woodstock, NY. We are looking for any help towards mounting a production. We are also considering submitting The Curse Of Batvia to the Edinburgh Fringe Festival in 2016.
BIOS: (biographies for the members of your team)
Productions of Katherine Burger’s play MORPHIC RESONANCE include: The Donmar Warehouse Theater in London; Theatre de l’Atelier in Paris, where it won several Moliere Awards; The Westport Country Playhouse; The Eclectic Theater in Los Angeles, The Kleines Theatre in Berlin; and over Radio BBC. Her one-act WAY DEEP, winner of the 16th Annual Samuel French short play festival and published by them, has had over 20 productions throughout the United States and Canada, and she’s had various productions of other short plays. She's written two plays on commission for South Coast Repertory Theater, as well as two commissioned screenplays, one of which had a staged reading at The Nuyorican Poets’ Café Fifth Night screenplay reading series. She is a member of Howl Theater Company, The Dramatists Guild of America, and the BMI Lehman Engel Musical Theater Workshop, where she was awarded the Harrington Award for best libretto for THE CURSE OF BATVIA. A singer and actor, Katherine has performed in the United States and Europe. Roland Tec is a filmmaker, playwright and composer. His film, ALL THE RAGE, widely considered a hallmark of the Indie Queer Cinema movement of the late 1990s, is released by Strand Releasing and has been seen by audiences around the world. His most recent film, WE PEDAL UPHILL was also released theatrically in the U.S. Tec’s foray into filmmaking began when he was invited to contribute the score to Marian Chang’s operatic short film, AN EGO FLOATS IN THE SECRETARIAL POOL. Since then, he has scored several short films as well as his own feature films. His work in the theatre began during his tenure as Artistic Director of Boston’s innovative New Opera Theatre Ensemble which mounted new operas in such unlikely venues as The Boston Public Library, The Danco Furniture Showroom and The Charles Hayden Planetarium. Roland studied Music Composition at Harvard and Brandeis, where he studied with composers Peter Lieberson, Eric Chasalow and John Corigliano. His work has been commissioned by The Ann & Gordon Getty Foundation, Resonance Ensemble, Bar Harbour Music Festival and the Rene B. Fischer Piano Competition. Roland is a member of The Dramatists Guild of America, The Producers Guild of America and the American Composers Forum.
CONTACT EMAIL: (the email a producer should use to contact you about your musical
katherine.burger@icloud.com
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TITLE OF YOUR MUSICAL:
The Land Beneath the Sky
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
Book, music, and lyrics by Adrienne Gray
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
Synopsis:
Once upon a time, the world was a magical place where Mother Earth and Father Sky raised their children in peace and harmony, but after celebrating the birth of their first fairy daughter, an agitated Shadow Prince re-emerges to unleash fear and hatred across the land. Mother Earth and Father Sky quickly create a barrier between the magical realm and their children in order to protect them. Their now-mortal children must use the gifts that were written on their souls to overcome the shadows of the past and restore magic and peace to the world, while there is still a world left to save!HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
Development Notes:
"The Land Beneath the Sky" has undergone a table read followed by 10 months of professional feedback and revision. The libretto, piano/instrumental/vocal scores, and an initial demo have been completed, but are open to further development and iteration. For next steps, Adrienne Gray is hoping for a basic reading or a staged reading.BIOS: (biographies for the members of your team)
Biography
Adrienne Gray was born in the Chicago area and has had a love for the fine arts since she was a little girl. She was heavily involved in musical theater until she graduated high school, after which she decided to pursue an education and career in research and design. Her love for artistic and musical storytelling has recently been reignited, and she published her first book, “The Grand Exchange,” in 2023. “The Land Beneath the Sky” is her debut musical work.CONTACT EMAIL: (the email a producer should use to contact you about your musical
mrs.adrienne.gray@gmail.com
WEBSITE: (if you or your musical already have a website, include the full web address here)
https://www.instagram.com/the_land_beneath_the_sky/#
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The Overview Effect
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BIOS: (biographies for the members of your team)
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WEBSITE: (if you or your musical already have a website, include the full web address here)
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Tightwire
CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
Book and Lyrics by Ann E. Eskridge, Music generated by AI
PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
Sidney Monroe Trent, a young Black Vietnam vet, is on the run—hunted by Southern law enforcement and the Klan for a murder he may not have committed. Detroit offers a brief refuge, but survival forces him to flee to Canada and then Cuba, where he expects solidarity but finds suspicion. Now walking a tightwire between two countries, Sidney must fight to define freedom on his own terms. Longer Synopsis: In 1970, Sidney Monroe Trent, a 22-year-old Black Vietnam veteran, is running for his life. A deadly encounter with a white mob in South Carolina has made him a fugitive, wanted by both law enforcement and the Klan. With nowhere to turn, he heads to Detroit, where the Black radical movement offers him shelter—but not safety. When the heat gets too intense, Sidney flees to Canada, then makes a desperate leap to Cuba, believing he’ll be welcomed as a comrade in the revolution. But Cuba is not the sanctuary he imagined. Instead of brotherhood, he is met with suspicion, and imprisonment. Trapped between two worlds that reject him, Sidney grapples with his identity, his past, and the meaning of freedom. Through betrayals, unlikely alliances, and hard-won lessons, Tightwire explores one man’s journey through exile and revolution. When given the choice—stay in Cuba or risk returning home—Sidney must decide whether freedom is a place, a right, or something he must create for himself.
HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
Scriptreading upcoming.
BIOS: (biographies for the members of your team)
Ann E. Eskridge is a 2021 Kresge Fellow in playwriting, a 2013 Black Metropolitan Research Consortium Fellow and a Fulbright Hays Group Project Abroad participant in Brazil. She is a cross-genre writer. She written on subjects like the Underground Railroad, all-black towns in Oklahoma, New Orleans’ free people of color, the Gullah community on the Sea Islands, and Chicago’s black Tin Pan Alley through her plays, musicals, and novels. She currently is a member of Theatre Now New York, International Musical Writers Workshop. A screenplay she wrote became a PBS Wonderworks movie, Brother Future, which won several awards. Her book and play, The Sanctuary, Cobblehill, 1994, was optioned by Producer Bill Blinn (Fame), and Sundance. Two monologues from the play are included in Childsplay; an anthology of children’s play monologues. The Sanctuary was also the basis for a children’s grief and bereavement program in Detroit. She is has written four musicals: Satin Doll, a re-interpretation of Pygmalion from a black perspective, Echoes Across the Prairie, about the founding of a fictional all-black town in Oklahoma, and The Boundaries of Freedom: A Seach for Home, a musical about an African American civil rights activist, exiled in Cuba. Her play with music: If Pekin is a Duck, Why am I in Chicago?, is about the first black musical theater in the country: The Pekin. It had its World Premiere January 2023, at Playhouse on the Square in Memphis, Tenn, and was nominated as Best Original Play for the 2022-2023 season. Her short musical, The Chicken Never Crossed about a small black business along with others was destroyed because of urban renewal in Detroit was a finalist in the Obsidian Black Theatre Festival. Her children’s plays: The Sanctuary and Bug and Junior were finalist in 2022 and 2024, in the Growing Stages Theatre in New Jersey. In 2024, her play, A Home for Christmas won first place in the Community Theatre Association of Michigan playwriting contest.
CONTACT EMAIL: (the email a producer should use to contact you about your musical
annesk@ameritech.net
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https://www.asalondet.com/salon-artists
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https://drive.google.com/file/d/1aKeNZoK_BhCAQpeBaoJRrMWlwy5PYBY0/view?usp=drive_link
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