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:
     ? DO SEX ROBOTS DREAM OF BECOMING FAIRY PRINCESSES?

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book By Rusty Lemorande. Songs By Various


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     A modern-day Pinocchio for the AI Age, featuring the unforgettable songs of Celine Dion. "DO SEX DOLLS DREAM OF BECOMING FAIRY PRINCESSES?" is an unusual jukebox musical set in the heart of a Chinese-owned, New Jersey sex doll factory. As the test model for the latest in toy-doll, voice technology, Chloe now knows all the fairytales and several languages. As a result, she believes that if she can find a prince charming within the factory, she'll become a real girl through the transformative power of love. (Ergo, a Pinocchio tale). The most likely candidate is a janitor! As a jukebox musical, the tunes are reliably melodic, ear-catching, heart-warming, and, at times, lachrymose. Like Mama Mia (perhaps the most famous jukebox musical), the lyrics are intertwined and help tell the fictional Pygmallian tale. Although Ms. Dion did not write any of the songs (which are licensed from the authors), her selection process was famously impeccable. The first scenes and their songs can be read and heard utilizing the following link:   https://bit.ly/DO_ROBOTS_DREAM CLICK LINK HERE As long as you read the PDF with Adobe Reader (or similar) while on the Internet, the songs (and some illustrative videos) can be played by clicking on them within the document. Note on the 'VIDEO DEMO' below: http://bit.ly/SEX_ROBOTS_VIDEO https://www.dropbox.com/s/xqxjjmze3ofiluz/I%27m%20Alive%20Latest.upload.mp4?dl=0 The song is "I'M ALIVE", a Celine Dion hit, in which factory, robot friends transform drab test-robot Chloe into a Cinderella-like belle awaiting her potential Prince Charming to take her out of the factory and experience the world outside. The video is an admittedly rough animatic including some examples of classic magic stage illusions proposed throughout the show, in addition to examples of the illuminated dancing robots who participate in some of the production numbers, innovative dance traditionally part of all the great, enduring stage musicals.


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)
     Lemorande is a Golden Globe Winner and an Academy Award Nominee. Lemorande has also been a Disney Fellowship finalist, the winner of the Cassian Elwes Screenplay Fellowship, the winner in the dramatic category of the FINAL DRAFT, BIG BREAK screenplay contest, a selected participant in the New York SHORT BYTES Musical Festival, selected in the NYMT Musical Festival (canceled by the pandemic), and three-time semi-finalist in the prestigious Academy of Motion Pictures Arts and Sciences Screenplay Nicholls Screenplay competition. Lemorande also wrote an original film musical, "THE AMAZING MR. MARVEL" for Michael Jackson, with music by Giorgio Moroder and lyrics by Lemorande. Unfortunately, the film, which was in pre-production, was canceled due to Mr. Jackson's sudden legal problems and the resulting scandals. Lemorande's musical motion picture, ELECTRIC DREAMS, is being remade in the U.S. and in a Chinese version. Two years ago, it was adapted for stage and produced on stage in Australia. Lemorande's other film musical credits are YENTL, starring and directed by Barbra Streisand, and CAPTAIN EO (written and produced by Lemorande), starring Michael Jackson, for the Disney theme parks. In the latter case, Mr. Lemorande's conception and design of in-theater effects within a 3D film have credited him as the 'Father of 4D'. Lemorande, as an Executive Producer of the film Caddyshack, was also in charge of music including the selection of the film score composer and all songs in the song score (with the exception of the Kenny Loggins tunes). Lemorande has also acquired the trademark NIGHT OF THE LIVING DEAD and is developing a 'Ride Through Opera' (using theme park ride technology) for an operatic musical based on the title; Lemorande has written the libretto and lyrics and is currently seeking a composer. Lemorande was also commissioned by Paramount Pictures to adapt the screenplay for the Lloyd-Webber stage production of Sunset Boulevard, commissioned by Arclight Films, and authorized by Sir Cameron Macintosh to adapt the screenplay of Miss Saigon.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     lemorande@gmail.com


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)
     https://www.dropbox.com/s/xqxjjmze3ofiluz/I%27m%20Alive%20Latest.upload.mp4?dl=0

EDIT YOUR MUSICAL

NOTE: To view how this page will appear to the producers, CLICK HERE







YOUR LOGO:


TITLE OF YOUR MUSICAL:
     “The Other Mr. Lincoln”

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book and Lyrics by Don Hood, Music by Harry Reed


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

I’m Don Hood, and I wrote the book & lyrics for an original musical, “The Other Mr. Lincoln,” which revolves around the life and times of Robert Todd Lincoln, President Abraham Lincoln’s oldest son, thus, “The Other Mr. Lincoln.” From the 1860's to the 1920's, most people know many of the names and places of actual events, but this musical has a tagline, “Or History You Only Thought You Knew,” because we show how these events unfolded, through the eyes of Robert Lincoln, who was there at all of those events! He’s the only man in history who was! Fresh out of Harvard Law School, he helped to thwart a conspiracy to kill his father, President Lincoln. As a Union Captain, he rode all night to give his father the Appomattox surrender, only to be too exhausted to go to Ford's Theatre to prevent his father's assassination. He dealt with having to commit his mother to a mental hospital, as she had, like Jackie Kennedy decades later, experienced her President-husband's murder. On top of all that, Robert then witnessed first-hand, Presidents Garfield and McKinley being killed for political reasons, as audiences today can relate to more recent similar events. But he was strong-willed, and became an avid astronomer to take his mind off these horrors, and re-invented himself as CEO of the Pullman Car Company, where he was one of the largest employers of African-American workers in the 1890's, which we see in musical harmony, possibly in contrast to today’s realities. But even in his 70’s, Robert supported his wife and was part of the women’s suffragette movement. I told Harry Reed, the composer, my ideas for this, and he said, “You have writer’s real estate, story, story, story!" And so, the music takes you on a ride through history! With 11 different genres, from ballads to ragtime, from salsa to opera, and from conspiracy concerto to rock ‘n’ roll, with captivating choreography of dance and dream sequences. There are also surprising reveals, such as, a brilliant female detective foiling the conspiracy and Baltimore plot against President Lincoln, the intrigue and cunning, shown through song and dance. And we show how his father’s murder affected him throughout his life, and how ultimately, he was able to resolve his conscience in a haunting musical “Twilight Zone”-like finale.  We have a full cast and 12-piece orchestra production scheduled for the Hammer Theatre in San Jose, CA, this October, 2024, to which I'd like to invite all of you to come. Email me from the Web Page, and I'll arrange tickets. I've also attached three demos to the Web Page, and I encourage you to listen to them to help demonstrate the musical range of this remarkable true story of a tumultuous time in American History, a history you only thought you knew. It's an exciting musical journey, with historical characters and events, which changed history forever! Thank you for listening and for your consideration.




HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     After several years of research, writing the book, lyrics, and music, "The Other Mr. Lincoln" is completed. It has been workshopped, with a demo CD recorded (three of the songs are uploaded below), and is now with a full cast and designers, being readied for production at the Hammer Sobrato Main Stage Theatre in San Jose, CA, this October, 2024. We are also looking beyond this, for a production at the next level.


BIOS: (biographies for the members of your team)
     

Don Hood, Writer of the Book & Lyrics, Stage Director of the production.

Don graduated from the UCLA Theatre Arts Department, has written several plays, screenplays, TV series, and musicals, while also performing in, directing, writing, and producing over two dozen theatrical productions, along with pilots and series for cable TV, and acting parts in several films.

Harry Reed, Composer of the Music, Musical Director of the production.

Harry is a music teacher with a lifetime credential from San Jose State University; owner of Arts Initiative, working with over 15 schools in three districts in Santa Clara County. Expertise in writing, producing, and directing, along with managing music and drama touring groups of high school and college students for 36 years.




CONTACT EMAIL: (the email a producer should use to contact you about your musical
     donhood@pacbell.net


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:
     23 and You and You and Me

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book and lyrics by Dorie Clark; Music by Marie Incontrera


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     "23 and You and You and Me" is a paternity comedy, based on the true story of lyricist and librettist Dorie Clark discovering in January 2020 that her father was not, in fact, her father. The show explores, with humor and pathos, the nature of family secrets - and what self-identity looks like when everything has been peeled away.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     23 and You and You and Me was performed at the Prospect Theater Lab Rule of Three concert showcase 11/17/2021. We are currently seeking opportunities to workshop the piece further.


BIOS: (biographies for the members of your team)
     Dorie Clark is a lyricist in the BMI Lehman Engel Musical Theatre Advanced Workshop, and a winner (with Marie Incontrera) of second place in the 2021 NMI Search for New Musicals for Absolute Zero. She is a graduate of Harvard Divinity School, a producer of a multiple Grammy Award-winning jazz album, and a Wall Street Journal bestselling author.  Absolute Zero received a York Theatre Company staged reading in spring 2023, a Dallas staged reading in 2022 (as the result of winning a MusicalWriters.com pitch competition), and was a 2023 semi-finalist for the Eugene O'Neill National Music Theatre Conference. The show was featured as part of the New York Theatre Barn New Works Series in October 2023 and has received media coverage in Forbes and the Harvard Business Review. Clark has participated in developmental opportunities with Prospect Theater Company, Apples and Oranges Arts’ THEatre ACCELERATOR and the (late) New York Musical Festival’s songwriting workshop. Her work has been performed at venues including Symphony Space and Joe’s Pub in New York City.   Marie Incontrera is a musical theater and opera composer; music director and conductor; and screenwriter living in Manhattan, New York. Her award-winning chamber opera, Albert: Bound or Unbound, written with librettist Royce Vavrek, premiered at Brooklyn Academy of Music New Wave Festival and was hailed by the New York Times for its “deftly woven jazz and gospel elements.” Her operatic works have been performed at Carnegie Hall, Joe’s Pub at the Public Theater, and across the United States.   Marie has served as a music director and pianist for three works with Mabou Mines, in collaboration with late director Lee Breuer. She has also music directed several other opera, musical theater, and hybrid works, including Fred Ho’s Sweet Science Suite, Marat Sade with the TWEED Theatre Company featuring Edgar Oliver, Hatuey at Sundance Labs, and 8 Songs for a Drag Queen at Carnegie Hall.    Marie’s screen works include Two Anxious Bisexuals, and A Very Queer Holiday, a holiday special. Both were written with Dianne Gebauer and Megan A Zebrowski. Two Anxious Bisexuals has been a winner of Best Short Script at Film Invasion LA, Audience Choice at Cannes Short Film Festival, and others. A Very Queer Holiday was a winner at LGBTQ Unvordered International Film Festival, Vienna Film Festival, and others. A Very Queer Holiday is a participant in the Sundance Collab Film Producing: Core Elements intensive.   Marie is a graduate of the BMI Lehman Engel Musical Theatre Intensive, taught by Patrick Cook and Frederick Freyer. Her first collaboration with book writer and lyricist Dorie Clark, Absolute Zero, was a part of the Apples and Oranges THEatre ACCELERATOR development intensive in Spring 2021. Absolute Zero was an O’Neill New Musical Theater Conference Semi-Finalist in 2023, the Second Prize winner of NMI’s Search for New Musicals in 2022, and the winner of the Spring 2022 Musicalwriters.com Pitch Night. Absolute Zero received a 29-hour reading from The York Theatre off-Broadway in April 2023, and will be showcased on the New York Theater Barn New Works Series in Fall of 2023. Dorie and Marie were in the Top 25 finalists for the 2023-2024 Dramatists Guild Foundation Fellowship. They were commissioned by the Prospect Theater Lab for the first ten-minutes of their second show, 23 and You and You and Me, which premiered in November 2021 at Symphony Space. Her Virtual Reality musical, Parallel University, written with David Quang Pham and Malina Detcheva-Rossa, was developed with the Across A Crowded Room program at Lincoln Center Library. She received her Masters Degree in Music Composition from Brooklyn College, where she studied with Tania Leon. She studied privately with jazz composer Fred Ho. By day, Marie owns a social media and digital marketing agency.




CONTACT EMAIL: (the email a producer should use to contact you about your musical
     marie.incontrera@gmail.com


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:
     A Midwinter’s Nightmare

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book by Mary Beth Townsend, Music by Jennifer McComb, Lyrics by Jennifer McComb and Mary Beth Townsend


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     A Midwinter’s Nightmare is a full-length musical based on the relationships between the fairies and goblins from Shakespeare’s A Midsummer Night’s Dream. Over time, the fairies and goblins have had to relocate, and now find themselves under modern-day New York City. Four band mates are headed to a gig when they are way-laid by Robin Goodfellow, Goblin King of the Underworld, to play for his wedding feast. Robin calls on Oberon, King of the Fairies, to make the love potion, like one he made before, that will win the heart of his lady goblin love. These actions reignite a nearly centuries-old argument between Oberon and Titania, Queen of the Fairies, that threatens to freeze everyone in an unending winter’s night.  


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     Development History: 2019 - Began writing A Midwinter’s Nightmare, inspired by the terrible winter that year. 2021 - Booked time with dramaturg; resulted in massive rewrite. 2023 - Attended Musical Writers Festival; submitted a song from musical for performance and feedback. 2024 - Held successful table read; gained valuable feedback resulting in revisions. Next steps: demos for all music; a staged reading; a concert reading; a submission-ready script & score.


BIOS: (biographies for the members of your team)
     Mary Beth Townsend - Playwright, novelist, lyricist, teacher, with a doctorate in technology in education. Member of Musical Writers Academy, Playwrights Center.   Jennifer McComb - Singer/songwriter, performer, lyricist, arranger, vocal coach, teacher. Member of ASCAP, Musical Writers Academy, Maestra.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     mary.b.townsend@me.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://theplaysthething.org


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://drive.google.com/file/d/1FQwpiD9l6t91Jd6gJ2FqLphdx2cYs827/view?usp=drivesdk

EDIT YOUR MUSICAL

NOTE: To view how this page will appear to the producers, CLICK HERE






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:
     Alone

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book by John Ertman, Music & Lyrics by John Ertman & Joseph Mathusek


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Link to Concept Album: www.alonemusical.com A high school friend group becomes the center of their small-town gossip chain after a summer romance goes awry. Alone: A New Musical is a young, electric, and driving contemporary coming-of-age musical exploring how relationships at home change, grow, and form in the time just after high school and at the beginning of college. It follows Mia, an adoptee and valedictorian as she navigates her first love, a helicopter mother, and a town-wide gossip chain that seems to know intimate details about her life before even she does -- all while trying to learn who she really is and who she wants to be.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     April 2021- Two-Week Workshop (American Music Theatre Project, Evanston, IL) August 2021 - 29- Hour Reading (Picardee Productions, Paper Mill Playhouse, Millburn, NJ) May 2023 - Concert (54 Below, New York, NY) Spring 2024 - Concept Album (Picardee Productions LLC, Penny For Thought Productions LLC) Summer 2024 - 29-Hour Reading (TBD, New York, NY)


BIOS: (biographies for the members of your team)
     John Ertman (Book, Co-Music & Lyrics) - is a professional writer, director, and AEA actor based in New York. John has written two musicals, Alone (American Music Theatre Project, Concept Album) and Mews (The Tank) with collaborator, Joseph Mathusek. He has independently produced three pop albums: The Abbey Road Live Session, Idle Growth, and Reality and has had his work performed at venues such as 54 Below in New York City and The Bedford in London and studios such as Abbey Road and Power Station NE. John is an award winning director of immersive theatre, internationally recognized by critics for his innovative approach. Selected awards include: Best New Media Award (Lonely Wolf UK 2023), Audience Choice for Best Interactive Experience (FIVARS 2021), and 4x Critics’ Picks for Best Interactive Theatre (Medium/No Proscenium 2020-2022). As a performer, John originated a role in Fifty-Seven at APAP in 2023 and led The Mosquitical as Newman at NYMTF. John earned a B.A. in Communications from Northwestern University, where he majored in Theatre and was a member of the inaugural class of the Music Theatre Writing & Composition program. John is also a student of several established composers including Mark Hollmann (Urinetown), Masi Asare (Paradise Square), Craig Carnelia (Working), and Michael R. Jackson (A Strange Loop). Joseph Mathusek (Co-Music & Lyrics) - is a musician trained in performance, composition, arranging, and music production, and is a proud member of the Navajo Nations. He currently studies at BYU-Idaho where he is active in the music and composition scene and is finishing a degree in Vocal Performance. Joseph has participated in multiple performing groups, as both a performer and a director. He has directed/music directed multiple musicals including: Shrek The Musical (R3 Theatre), Alone (American Music Theatre Project, Concept Album) and You’re a Good Man, Charlie Brown (No Drama Theater). Joseph has written and published two musicals, Alone: A New Musical (Co-music/Lyrics, arr.) and Mews (Co-music/lyrics, arr.) with collaborator John Ertman and has published several original arrangements, orchestrations, and original songs. Recent work in arranging/orchestration includes: “Santa Claus is Comin’ (Cover)”, “I’ll Be Home For Christmas (Cover)”, Alone: A New Musical (Full Score), and Mews (Full Score).


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     ertmanandmathusek@gmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://www.ertmanandmathusek.com/alone-concept-album


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:
     America’s Happiest Person

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book and Lyrics by G. Bruce Smith, Music by Dante Luna


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

Oliver Grimm has been dumped by his girlfriend for being such a Debbie Downer and he wants to get her back. So, he vows to prove he’s a changed man and sets off on a journey to become happy. The pinnacle of his pursuit comes when he is named one of five finalists for a new reality TV show, “America’s Happiest Person.” If he wins, he can show his ex that he is, indeed, a very happy man. As the competition progresses, and the pressure of the show builds, the contestants reveal secrets that beg the question: Can anyone be truly happy?

With a variety of music and dance styles, as well as elements of farce and parody (of so-called Reality TV), “America’s Happiest Person” takes a fresh, comedic look at happiness in contemporary society.




HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     

In the summer of 2022, Dante Luna (musical composition) and G. Bruce Smith (book and lyrics) workshopped songs with two professionally trained singers. On October 26 and 27, 2022, “America’s Happiest Person” was presented as a rehearsed staged reading at The Broadwater Second Stage in Hollywood. (In 2021, Smith presented an unrehearsed reading of book only to a small, invited audience of theater professionals to solicit input. The feedback he received was extremely helpful.)

We are now looking for further development with theater professionals and/or universities. Ultimately, we hope for a full professional or university production.    


BIOS: (biographies for the members of your team)
     

G. Bruce Smith (Book, Lyrics)

G. Bruce Smith is the award-winning author of 25-plus plays of various lengths and two screenplays and has production credits in California, Minnesota, India and Paris, France. Productions of several of his plays have been critically acclaimed by such publications as the Los Angeles TimesLos Angeles Weekly and Backstage West.

Most recently, his play, "By the River Rivanna," was presented in April 2024 as a hybrid staged reading/production with music and dance at Studio/Stage in Hollywood.

In fall 2021, his play, “Broken Mirror: A Frankenstein Odyssey,” was produced by Santa Monica College (Calif.). Before that, his play, “Where the Dead Men Lost Their Bones,” had its world premiere at McCadden Place Theatre in Hollywood in November 2018.

His full-length play, “Heart Mountain,” which was commissioned by Santa Monica College, was produced in November 2012 and selected for the Regional Kennedy Center/American College Theatre Festival (February 2013 at Los Angeles Theatre Center). It was also produced in 2014 at UWC Mahindra College in Pune, India.

He has won several playwriting awards from theaters all over the U.S., including the National Playwriting Award from the American Renegade Theatre in Los Angeles for his play “The Last Pitch,” which went on to get two productions, one of which garnered Pick of the Week by L.A. Weekly.

Dante Luna (Musical Score)

Writing music for the stage and screen, Dante Luna has had his works premiered and performed throughout the USA, Scotland, France, the Netherlands, Italy and Russia. This includes his string orchestra composition, “Listen to Me,” which was taken on a world tour by the Russian String Orchestra in 2018-19; his String Quartet No. 1, premiered by the Carpe Diem String Quartet in Siena, Italy (2019); and recently his soundtrack to the film “Hunted,” premiered at the Hallucinea Film Festival in France (2022).

In addition to being a composer, Luna has also music directed several musicals during his time at UCLA (B.A. class of 2018, M.A. class of 2021), including “Tick, Tick… Boom!,” “Pippin,” and “Love’s Labour’s Lost.” Most recently in spring 2024, Luna music directed the California School of the Arts’ production of “A Funny Thing Happened on the Way to the Forum.” He also plays regularly as a musician with the top orchestras of Los Angeles, including the Los Angeles Opera, L.A. Master Chorale, Pasadena Symphony/Pops, and the Long Beach Symphony Orchestra. Having also attended the Los Angeles County High School for the Arts, and Interlochen Arts Camp, he has grown up performing in the pit orchestra for dozens to musicals and operas.

Luna currently serves on the music faculty at the AMDA College of the Performing Arts, and California School of the Arts, San Gabriel Valley.




CONTACT EMAIL: (the email a producer should use to contact you about your musical
     gbrucesmith1@gmail.com


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:
     An Evening With The Burn Outs

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Story and Music by Fred Barden


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     The Burn Outs are the best band that almost made the big time. The show is a reunion concert taping for "Public TV". During the concert the story of the band is told in flashbacks. It's sort of like A Chorus Line meets an Eagles Reunion Concert. Starting in the mid 1960's, a garage band (The Burn Outs) forms, playing the hits of the day. They get some local recognition and make a record that is a local hit. Unfortunately they are just behind the changes in music and by the end of the first act they break up. They get a second bite at the apple in the second act but are chewed up a spit out by the corporate music industry. The end of the concert ties their stories up. Who is this show for? Anyone who was in a garage band - or knew someone in a garage band - or anyone who grew up in the days before cell phones and play dates. This show is new, but familiar, set in the dynamic era of 60's and 70's rock music. Fitting right in-between Grease and Rock Of Ages, An Evening With Burn Outs takes your audience back to when a bunch of kids with guitars and drums could have a hit record. A fun story almost anyone can identify with.
And in the end...the boy gets the girl!



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)
     An Evening With The Burn Outs was conceived and created by Fred Barden. His experience as an L.A. Radio DJ, Program Director, Lighting and Sound Designer, Editor and Event Producer have all culminated with An Evening With The Burn Outs. And yes, he was in a band in High School! BA in Radio & TV FCC Class 1 Radiotelephone license Started in radio when I was 16. Advanced to KIIS in Los Angeles. Instructor at the Broadcasting Workshop. Recording engineer at Wally Heider's, Sound City, Record Plant, Cornerstone Studios. Concert Support - Mammoth, John Michael Montgomery, Juice Newton, The Hot Band Worked with; Barbra Streisand , Neil Diamond, Crosby Stills and Nash, Emmylou Harris, Juice Newton, Nicolette Larson, Guns and Roses, Motley Crew, Loggins and Messina,  Andy Gibb, Delaney and Bonnie, Emperor, Mammoth Designed and built 22 disco nightclubs. Produced numerous Industry events, music festivals and town fairs. I've written 6 movie scripts. This is my first go at musical theater


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     Calfred51@hotmail.com


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:
     Arthur Reborn

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Music & Lyrics by Sam J. Rabinowitz


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Does killing your son make you a hero? Legends look upon King Arthur as a hero, who sacrificed everything to save his kingdom.  But he killed his only son in order to do so.  Was that really heroic?  Elaine thinks there was a better way.  Are you familiar with her place in Arthurian legends? Funny, quirky, with a heart of “gold,” Elaine’s wizardry rivals Merlin’s.  Demonstrating the wisdom Arthur lacks, while overcoming obstacles in her quest to win the love of Lancelot, she transports us through time and the rise and fall of the King and his Knights of the Round Table.  This is Arthur Reborn, the Musical.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     Arthur Reborn has undergone several major rewrites to cut down the run time (originally close to 4 hours) and radically change the storyline, with Elaine now the protagonist and Arthur a mistake-prone character, who ultimately kills his only son.  A table reading with a group of high school drama students from a performing arts center took place several years ago.  In 2021, plans were made for a local high school to do a low-budget production of the show the following spring through their experimental theatre.  Working with two interns, a number of changes to the script and music were made, and ultimately, a second more “family-friendly” script was also developed.  Due to multiple revivals of COVID, the school’s theatre program suffered numerous delays and Arthur Reborn never went into production.  The show recently completed a serialized table reading via Zoom with actors, a dramaturg, and fellow playwrights and has begun another serialized table reading including songs shared via Zoom with fellow musical writers.  In addition, 16 songs from the 21-song score have been shared with composers via a monthly Zoom session.  The next “stage” in the development of Arthur Reborn would be either a staged reading or workshop production.


BIOS: (biographies for the members of your team)
     Sam J. Rabinowitz sees his life as a series of acts.  In Act I, "Education," he was an accordion player for 18 years, performing both as a solo artist and with classical ensembles, orchestras, a garage band, his own trio, and a USO Troupe. He wrote his first song in Junior High School, and his first musical during his freshman year in college. Following graduate school and an MBA from Wharton, came Act II, "Vocation," and he was a small businessperson for 42 years. Retiring in the fall of 2018, he is now in Act III, "Inspiration."  He resides in Cherry Hill, N.J.   “Faith Manages” – J. Michael Straczynski


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     macalibur@hotmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://arthurreborn.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

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YOUR LOGO:


TITLE OF YOUR MUSICAL:
     Blockbuster

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book and Lyrics by Peter Sasowsky, Music by Bonnie Corral and Ryan McQuinn


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Blockbuster is a comedy about a Pharmaceutical Sales Rep and the cynical daughter of a woman dying of lung cancer, supported by, Oncologists; the FDA; the C-suite of Pathfinder Life Sciences®; breakthrough scientific Researchers; Insurance Company Representatives; Medicare; Clinical trial Clinicians; Film Crews; an Ad Agency; Speculative Investors; an evangelistic TV financial Personality; a wryly philosophical Ghost; and a Molecule that's about to change everyone's life. The idea for Blockbuster arose from the author's deep exposure to Pharmaceutical and Biotech company sales forces through work he has done for event production companies. It is an attempt to take a nuanced view of an industry that is both disparaged and celebrated. The use of a lighter, comedic vehicle making use of traditional musical theater techniques and style, allows the story to explore the extraordinary array of forces that are at play on the medical predicament of one solitary person.  The term blockbuster refers to a drug that has reached a billion dollars in sales.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     Book and Lyrics are complete in the sense that they are ready to be revised through workshop.  We've just begun with music.  The firsts completed song "A Beautiful Molecule" is a major number from a minor character, featuring the internationally renowned singer Michael Cormick.  The second song ""Detail 'Em, Nail Em" is a WIP with scratch vocals.  Additionally, we've been working on ideas for a marketing plan that would mirror techniques used in promoting pharmaceuticals. Ideally, of course, looking for a produer or producers who can understand the potential of this story and appreciated the care with which it has been crafted.  I'm a rank outsider in this field.  Open to learning whatever I can and whatever I need to, to help this succeed.


BIOS: (biographies for the members of your team)
     Peter Sasowsky is a Writer, Producer and award winning Director based in New York and Los Angeles.  He is the founder of Serious Motion Pictures, LLC a script-to-screen production company producing work for commercial clients as well as narrative and documentary films on culture, environment and the arts. (www.seriousmotionpictures.com) He is currently at work on a series of documentaries helping to preserve the culture and language of the Lakota (Oglala) Sioux, and a feature documentary of the life of civil rights legend Fred Shuttlesworth. Bonnie Corral is a multi-faceted composer who specializes in musical theater and film scoring. She won 1st place in Creative Arts Theater’s Original Playwright Contest with her original musical Ghosts in Chelyabinsk (Creative Arts Theater, 2019) for which she wrote book, music, and lyrics. She music directed and performed as a musician for the musical’s debut production (Creative Arts Theater, 2020.) She produced and edited the original cast album (2022.) Bonnie is the principal composer for Human: A New Ancient Musical (Lines in the Sky Productions, 54 Below, NYC, 2023), co-written by Krystin Lacey. Other theater compositions and arrangements can be heard in Blockbuster (composer, arranger), No Plate Like Home (composer, arranger), and Miracles At My Doorstep (composer, arranger.) Bonnie's film scores have been featured in ten short films from Clay Lacey Films. She was nominated for Best Score by the Los Angeles 48-Hr Film Festival in 2022. Her scoring work has also been featured in AGBO No Sleep 'Til Film Fest, the Yes We Cannes Global Film Challenge, and the My Rode Reel Challenge. Bonnie composed and arranged music for audiobook The Good Circle. Her songwriting has been performed by bands Fifth Law, Bless My Stars, and The Echo Hill Band. She is a member of ASCAP, Society of Composers and Lyricists, Dramatists Guild, Alliance for Women Film Composers, Maestra and RISE Theatre. She resides in the LA region with her husband and son. Ryan McQuinn is a composer, sound designer, and voice actor residing in Central Florida. He has worked on audio dramas such as Dark Dice with Jeff Goldblum and Hitoshi Sakimoto, Legend Of The Boar Knight with Steven Melin, and Call of Cthulhu Mystery Program with Cat Blackard. Some video games he has worked on include Interstellar Space: Genesis with Grant Kirkhope, Axe Cop with James “Soda Piggy” Pandelis, and Lotia with Jade Lockwood. Ryan McQuinn's work has earned awards from Global Music Awards and Prestige Music Awards, with last year’s red hot release of Legend Of The Boar Knight winning awards in MN Webfest, NJ Web Festival, and The Signal Awards. His work has been performed live by Orlando Comtemporary Chamber Orchestra and Alterity Chamber Orchestra. He is a an active member of Central Florida’s premiere composer association, Central Florida Composers Forum.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     Sasowsky@gmail.com


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

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YOUR LOGO:


TITLE OF YOUR MUSICAL:
     Brewed Ambition

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     BK Wells & Michael Turnblom


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Get ready for a latte laughs and grande-sized drama in Brewed Ambition – a hilarious musical that's a zany spin on Macbeth, all served up in a bustling corporate coffee shop! Deuce is a bumbling busboy at the crappiest Moonshot coffee shop in town. He's stuck slinging espressos with his BFF, Cat, and together, they've got a steaming pot of hate for the lead barista, Chad. Now hold onto your fancy travel mugs because things are about to get frothy! After a wild prediction from some caffeine-fueled regulars, Deuce finds himself promoted to the prestigious position of Lead Barista. As Deuce sips on the sweet nectar of power, he transforms into a java-crazed force of nature. His crush, Marjory, adds some extra whipped angst to his ambition, leading him to hatch a plan to climb the corporate ladder by, well, eliminating a few customers and colleagues. Written by half-caffeinated, half-WTF, BK Wells, with toe-tapping tunes by the talented Michael Turnblom, Brewed Ambition features show-stopping numbers like "Deuce," "Moonshot," "The Lead Barista," "Power Play," "A Screw Up," "I’ve Got Some Time to Kill," and many more that will leave you dancing in your seat. Don't miss the coffee-fueled chaos, where beans are ground, and dreams are brewed up piping hot! Brewed Ambition – because sometimes you need a heaping spoonful of murder to sweeten up your cup of joe!  


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     Brewed Ambition received 2nd place in the 2023 International Search for New Musicals. Brewed Ambition was originally titled Deuce, so it is fitting it was Number Two! It received a reading at NMI - see video link below. Since that reading, the script has been tightened and there is an exciting new song: Power Play! Looking for a theatre company interested in developmental reading or production.


BIOS: (biographies for the members of your team)
     Michael Turnblom is a composer, conductor, and performer who writes for the stage and concert hall. In addition to Brewed Ambition, Michael’s recent works include The Little Red Hen (with bookwriter/co-lyricist BK Wells) and The Dividing Line (Michael Turnblom, book, lyrics and music), as well as Habitual Mirrors (book by Elena Lockleis, lyrics by Stephanie Bentley and Tatiana Gomez) and For Richer and for Poorer (book by Kim Bixler, lyrics by Greg Beattie), both premiered at Broadwater Mainstage, Hollywood. As a singer, Michael has performed with the a cappella groups True Concord and De Angeles Vocal Ensemble, and he is a bilingual cantor for Christ Cathedral in Garden Grove, California. Fluent in several languages, Michael has collaborated with choirs and artists across Europe and Latin America. From his home in Los Angeles, Michael enjoys helping at-risk teens train for their first marathon. He holds graduate degrees from the University of Michigan and University of Arizona, where he completed studies in vocal performance, conducting, composition, and orchestration. BK Wells has written several plays including bad boy (San Francisco Repertory Theatre, Burbage Theatre), Grave Undertakings (Rasputin Theatre, Burbage Theatre), and radio plays with Shoestring Radio Theatre. Musicals include United We Tweet (Book & Lyrics), composer Jane Wong (New Musicals, Inc.), Rev It Up (Book), Arise Like a Phoenix, a musical celebrating the 50th anniversary of the founding of the United Nations – co-sponsored by SF UN-50, (Book), and Bad Girls with composer Frank Schader, an ASCAP Full Participant. Musical WIPs include The Little Red Hen, a children’s musical, Buzzed, a musical podcast inspired by Roger Corman’s The Wasp Woman, and The Brat, all with composer Michael Turnblom. Wells has several novels in print including Funny Money (two queer women decide to solve their financial problems by robbing the San Francisco Mint during the Pride Parade, Amazon Prime Reading Selection, 2022), Nothing to Fear (dumbest guy in the country becomes president), Semi-Sweet Revenge (suicidal woman can't kill herself until she kills her mortal enemy, set during the height of the AIDS crisis), and The Rainbow Tiger (transgender superhero and their disabled sidekick must stop the extremist right president from stripping all personal freedoms), and a collection of Stupid Plays. Wells received a Pinecone Book Award in 2022. Wells tackles issues of identity, gender, and the challenges of modern urban life, all with an irreverent point of view. Wells lives in San Francisco with maltipoo, Bailey, and holds an Ed.D. from UC Berkeley.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     wells@bkwells.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://www.bkwells.com/brewed-ambition


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

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YOUR LOGO:


TITLE OF YOUR MUSICAL:
     cleaVage

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Music and Lyrics by Ron Friedman, Book by Laura Goodenow and Ron Friedman


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     
cleaVage, the "real" story behind fake breasts, is a comedic musical inspired by the surgeons and patients who shaped the spectacular rise, equally spectacular fall, and rebound of silicone gel breast implants (which remains the #1 cosmetic surgery worldwide).
If you think this is a conventional story, consider that:
1. The first breast implant patient was a stray dog named Esmeralda. (No, we're not kidding.) She is a recurring character in this musical (via barks) and even has her own song.
2. The first human patient was a penniless divorced mother of six who still lives near Houston and still has her original implants, which were placed in 1962!
3. Silicone gel implants were invented in Texas; saline implants, the competition, were invented in France.  In Act 2, the American and French inventors have a "sword fight" for supremacy in the restroom of a French restaurant (Yes, that's in the musical. No, it didn't really happen.) Guess who has the longer baguette?
D (Dallas) Magazine featured cleaVage in a 10-page article:
cleaVage may be a comedy, but it has lots of heart.  There is a tender romance between a plastic surgeon and the first breast cancer reconstruction patient ("The Perfect Match"), a powerful "my body, my choice" anthem ("It's My Choice"), and an 11 o'clock inspirational song by our trans-woman narrator ("Just a Girl").



HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     We had two table readings in 2022 and a highly acclaimed staged reading in 2023. Texas Monthly titled their review, "Hamilton with Breasts": texasmonthly.com/…/for-a-very-dallas-musical-experience-see-cleavage-hamilton-with-breasts We are hoping for a workshop or a full production, ideally in a community or regional theater.  We can't wait to show you our cleaVage!


BIOS: (biographies for the members of your team)
     Ron Friedman, MD conceived of cleaVage, wrote the music and lyrics, and co-wrote the libretto. When not writing or performing music, Dr. Friedman is also a widely-published board-certified plastic surgeon who has been in private practice for 28 years. Fun fact: he does more male nipple reductions than any other surgeon in the nation.  A songwriter since his teens, Dr. Friedman performed his original songs on television and  for crowds as large as 15,000. The true story of silicone gel implants is remarkable, and he has an insider’s understanding of the intricacies. Of course, his friends are concerned; he places breast implants all day and then writes songs about them at night. Laura Goodenow is the co-librettist of cleaVage. Also a lyricist and producer, her other works include Exposed (lyricist/librettist), a musical about the controversies and struggles of immigration; Gold Jade Way (librettist), a sung-through operetta of ancient Chinese poetry translations; and Crost (librettist/lyricist), a musical based upon the lost love letters of 12th-century French lovers Heloise and Abelard. Her company, Real Women Make Waves, developed and produced the award-winning film Year by the Sea, then distributed it to more than 100 theaters nationwide. Before her career focused on theater and film, Laura was an award-winning print journalist and newspaper editor, as well as a corporate editor and pharmaceutical advisory board notetaker. She is a mother of two and a Butler University graduate who splits time between Indianapolis, IN, and Nashville, TN.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     jinronf@gmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     CleavageTheMusical.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://www.cleavagethemusical.com/buzz

EDIT YOUR MUSICAL

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YOUR LOGO:


TITLE OF YOUR MUSICAL:
     Creature of the Night

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Music, and Lyrics by Linda Neel


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)
     In development.


BIOS: (biographies for the members of your team)
     Originally from Glendale, California, Linda Neel is a writer/actor based in New York City.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     lady.lindita@gmail.com


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:
     Cruising Broadway

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!)
     

Cruising Broadway, a once-flourishing cruise line theater production company, finds itself in dire straits. Max Titus, the owner and show producer, alongside Captain/co-owner Abdul Habib, face the challenge of keeping their business afloat financially.

Rainbow Tours, managed by Justina Casey, initially booked Cruising Broadway for a cruise featuring performances of "Cats." However, Max's premature claim of having secured the rights led to complications. To add to the chaos, Justina Casey resorted to deception, posing as gay to secure her job.

Despite these setbacks, the SS Ethel Merman embarks on its final tour to Bermuda. However, the journey takes an unexpected turn when the ship becomes lost in the enigmatic Bermuda Triangle.

In a bid to maintain a facade of normalcy and comfort for the passengers, Max, the Captain, and their resourceful crew strive to keep the show running using any means necessary. What ensues is a comedic escapade, reminiscent of the iconic "Love Boat," with surreal twists as Max and the Captain attempt to explain their predicament.

Amidst the chaos, the boat's creative team, led by Nina, a former Ukrainian prima ballerina, ingeniously incorporates the new guests into the entertainment lineup.

Meanwhile, romantic entanglements unfold, with Victor Mature providing a distraction for the Captain, and the sultry waitress Shoorah developing feelings for Justina under mistaken assumptions.

As news of turmoil in the outside world reaches the ship, passengers and crew alike are faced with a poignant dilemma: whether to embrace their newfound paradise aboard the vessel, dubbed "Boatopia," or confront the harsh realities awaiting them upon returning home.

Ultimately, Cruising Broadway becomes a journey of self-discovery and reinvention for all onboard, prompting them to question if civilization beckons them back or if they are content to permanently escape the chaos of the world they left behind.

Step aboard and join the adventure to discover where the voyage of Cruising Broadway leads.

cruisingbroadway.com


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     The writing of this musical has just been completed and I'm hoping to get it produced with some development. I really hope that the humour translates and this is why I'd love some preliminary reading to take place as soon as possible.  


BIOS: (biographies for the members of your team)
     
Yuri Worontschak Musicals: Illuminati Lizards from Outer Space_NYMF 2019; Margaret Fulton I Sang for My Supper_Vic Opera 2020 and Australian tour_2021-2; From The Cliff to the Sea_with Brian Rooney (Threepenny Opera), Outer Sink, Bondi High, Surfers. Film: Love the Beast_wEric Bana Take Away_wRose Byrne, You and Your Stupid Mate_wNathan Philips), The Mao Game_wKirsty Alley and Piper Laurie, Halifax _wEssie Davis). Television: Utopia, Mad as Hell, Big Girls Blouse_wKath and Kim, AFI Awards_wHugh Jackman, Dogstar, Animalia Score Supervisor: It Runs in the Family_wMichael and Kirk Douglas, Empire Falls_wPhilip Seymour Hoffman and Paul Newman, Shiner_wMichael Caine, Sydney Olympics Opening, Sydney Para- Olympics Closing, Neighbours, One Night the Moon_wPaul Kelly, Nijinski_wDerek Jacob Record Producer: Anthony Warlow_Centre Stage and On the Boards, Peter Andre_Give a Little Sign, and Diana Krall_It runs in the Family, Jamie O'Neil Musical Director: Jason Donovan, Circus Oz, Tiny Tim, Bea Arthur, Terry Jones, Lenny Henry, Percy Sledge, Jose Feliciano



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)
     http://www.yuri.theater


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://kinesound.my.canva.site/cruisingbroadway

EDIT YOUR MUSICAL

NOTE: To view how this page will appear to the producers, CLICK HERE






YOUR LOGO:


TITLE OF YOUR MUSICAL:
     Dark Lady

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Lyrics and Music by Alexa Babakhanian


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

What would happen if Shakespeare wasn’t really Shakespeare? There is real supporting evidence. What if he was really Amelia Bassano, a dark, hidden Venetian Jew and the first woman poet published in England? And, what if this was revealed by Elizabethan characters transported by a spell cast by the faerie called Puck to our time to mingle and join forces with characters of present day for the purpose to right historical wrongs culminating in a trial involving Shakespeare vs Amelia Bassano to determine authorship overseen by Queen Elizabeth the 1st?  All the while fueled by social media and pop culture. Come along for the ride and discover The Dark Lady who has been hiding in plain sight for all to see for 400 years. For if you believe all’s well that ends well, your quoting Shakespeare or are you quoting Bassano?

 

DARK LADY

 

Book, Lyrics and Music by Alexa Babakhanian

2 act with intermission

2 ½ hours 

28 songs.

Production could be as sparse or as grand as one can envision or afford.

 

“Dark Lady” about Amelia Bassano who many consider Shakespeare’s muse depicted in his sonnets is my latest artistic offering in the form of a humorous, whimsical and at times poignant musical set in modern day featuring a culturally diverse cast of 7 main players with an additional 3 or 4  for ensemble and specific scenes.

 

The score includes beatboxing, hip hop, classical and pop music supporting Shakespeare and Bassano’s interplay between their written words as well as my own unique and playful style.

 

Currently spearheaded by Producer Victoria Meakin, Chair of Soho Rep Theater.

 

We have workshopped and presented three salons and will be presenting a 35 minute mini musical of highlights of the 2 act show this June to pitch to investors and producers. Dark Lady was also presented in the Minnesota Fringe festival.

 

This show is for girls, boys and any one who’s felt like an other which is all of us, isn’t it? 

 

You will leave this show learning about the first woman writer published in England and her work and looking at Shakespeare’s canon through a different lense while discovering the words and music of me, Alexa Babakhanian.




HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     

We have workshopped and presented three salons and will be presenting a 35 minute mini musical of highlights of the 2 act show this June to pitch to investors and producers. Dark Lady was also presented in the Minnesota Fringe festival.

 


BIOS: (biographies for the members of your team)
     

Published writer, performer and composer, Alexa Babakhanian holds 2 degrees from the Juilliard school. Babakhanian champions, gives voice to and represents the unrepresented through her artistic output.

 

Her work “I Care Do You?” in collaboration with Malala was presented at The UN.

 

Her song “A Million Me’s” was featured at the Women’s March On Washington.

 

Her song cycle and Opera championing the Women Of Don Quixote was premiered at Lincoln Center where she was artist in residence.

 

Her work “Dark Lady” about Amelia Bassano who many consider Shakespeare’s muse depicted in his sonnets is her latest artistic offering in the form of a humorous, whimsical musical set in modern day featuring a culturally diverse cast. 

 

Her dynamic score includes beatboxing, hip hop, classical and pop music supporting Shakespeare and Bassano’s interplay between their written words as well as Babakhanian’s own unique and playful style.

 

Currently spearheaded by Producer Victoria Meakin, Chair of Soho Rep Theater.

 


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     Lexakhan@icloud.com


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:
     DeWitched

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Music and Lyrics by Erica Allen McGee


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     The famous fairytale witches are tired and want to retire. But how? Who will do their dirty deeds? At the annual "SHREW" conference (Seasonal Harvest Rendezvous of Enchanting Women), the host, the magic mirror, suggests a storyline reboot, a PR makeover. The “ladies” must try to right their last wrong, but as they set about to rectify the evils they have thrust upon the victims, chaos ensues. These witches wonder why they seem to be very BAD at being GOOD. Is there a saboteur in their midst? Will they ever be able to head off into the sun or be trapped by the never-ending darkness of the moon?  A campy romp through a new point of view of the villains we love to hate.    


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     We have had a staged reading with audience and significant changes were made based on those learnings but I would love to have another so I could see how the new draft is received by an audience and I would ultimately love a workshop of the musical to take it to the next level.


BIOS: (biographies for the members of your team)
     A playwright since 2007, Erica Allen McGee has written 2 nationally produced musicals (book and score) and one musical unpublished, 8 children's musicals, and three holiday pageants.  She has also written several ten-minute plays and two straight plays, one of which (Oy Vey Y'all) has just received the 2024 @stage_craft stage play mentorship prize.  Her shows, Girls Raised in the South-GRITS: The Musical and Cinnamon GRITS: Christmas in the South are published by Broadway Licensing and have been performed all over the US.  Her new musical, "DeWitched" has been workshopped in Charlotte, North Carolina and her children's plays have been produced through her children's theater organization, Playground Players in the Carolinas. She has recently received her MFA in Creative Writing from Mount Saint Mary's University in LA and is looking forward to finding a home for her works created out of that program and for works to come.  Erica is the Dramatist Guild Ambassador for North and South Carolina, is a songwriter, vocal coach, theater and choral director who has also had success acting on the stage and screen.  She currently lives in Charlotte, North Carolina with her husband Ryan, daughter Tara and chi-weenie Lizzie. www.ericamcgee.com


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     ericaallenmcgee@hotmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     www.ericamcgee.com , www.youtube.com/@ericaallenmcgee


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:
     Echoes Across the Prairie

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book and Lyrics by Ann E. Eskridge, Music by Alton James


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Discover the untold story in Echoes Across the Prairie, where history and drama unfold. Henni, an African American and Creek Indian widow, creates Drummond, an all-black town in Indian Territory from her land allotment. As conflicts arise, secrets are revealed, and Henni faces a crisis over her land that leads to a death. The musical explores love, sacrifice, and the fight for justice. Join the journey of a community building its own destiny against all odds. Echoes Across the Prairie – where every note echoes the resilience of a forgotten chapter in history.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     Echoes touches upon a crucial aspect of American history. Our goal is to create a musical that vividly portrays the historical significance of the all-black towns in turn-of-the-20th-century Oklahoma. These towns, born out of the collective determination to break free from the tyranny of the South, offer a powerful narrative that deserves to be shared with a wider audience. In writing the musical book first, Ann leaned heavily on her former research and then the skill of a former instructor to structure the book to begin developing the musical.  Theatre Now New York International Musical Theater teams worked with Alton and Ann to shape the book and the music.  They are particularly interested in refining the two key elements of the musical: The Book: we are dedicated to ensuring that the book of the musical effectively captures the risks and courage that migrants to the black towns had to confront in their quest for freedom, and to understand the obstacles they had to overcome in order to create a “town”.  It is essential that the narrative resonates with the audience, emphasizing the incredible challenges and sacrifices these individuals faced. We are open to feedback and guidance on character development, plot structure, and thematic elements that can enhance the storytelling. The Music: Music plays a pivotal role in conveying the complex relationships between the black freemen, Creek Indians, and migrating southern blacks. We aim to create a musical score that weaves together the diverse cultural influences and experiences of these communities.  We want to ensure that each character represents his/her cultural influence. Additionally, we envision incorporating historical footage from 1925, showcasing these all-black towns at their zenith. This visual component will serve as a compelling backdrop, emphasizing the self-sufficiency and vitality of these communities during a time when they thrived. Few people today are aware of these towns, and we believe that this historical footage will be a powerful tool to educate and engage audiences about this often-overlooked chapter in American history. Our outcome is simple, we are looking for developmental opportunities, demos of all the songs and eventually workshop possibilities.


BIOS: (biographies for the members of your team)
     Ann Eskridge and Alton James Bios   Ann E. Eskridge is a 2021 Kresge Fellow in playwriting. She has a passion for African American history and culture. She writes cross genres. One screenplay 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 a founding member of Extra Mile Playwrights Theatre, a community of playwrights dedicated to creating transformative stories for the community.  She is developing two musicals: Satin Doll, a re-interpretation of Pygmalion from a black perspective and Echoes Across the Prairie is about the founding of a fictional all-black town in Oklahoma. Her play with music: If Pekin is a Duck, Why am I in Chicago? had  its World Premiere at Playhouse on the Square in Memphis January  of 2023. Her Christmas Play, A Home for Christmas, debuted at the Mountain Community Theater in Ben Lomond, California, November 2023.   Alton James, Ph.D. has dedicated his career to the education and liberation of disenfranchised and underrepresented peoples. Particularly, Alton has focused his efforts through the medium of storytelling through both words and music. Having earned his BA in English with minors in African American Studies and Music from the University of Michigan-Ann Arbor, Alton followed with an MA in Educational Leadership and Policy at U of M as well. Upon graduation, Alton taught English and Music for both middle and high school students in Detroit. While still honing his music composition abilities, Alton served as a director of a nursing retention program and manager of the graduate office at Wayne State University while earning his Ed.S. and Ph.D. in Educational Leadership and Policy. Along the way, Alton founded the company Alton James Media, which provides music and audio services for visual media.  


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     annesk@ameritech.net and contact@altonjamesmedia.com


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)
     https://drive.google.com/file/d/1zh_lMneLML4lCJH5fxrrG618D7Rd9RCI/view?usp=sharing

EDIT YOUR MUSICAL

NOTE: To view how this page will appear to the producers, CLICK HERE






YOUR LOGO:


TITLE OF YOUR MUSICAL:
     FABLE US!

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book & Lyrics by P.K. Silverson, Music by Gary Sironen


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Freed from a lifetime of slavery, Ancient Greece's most famous story-teller searches the world to reunite with his one true love.   There once was a half lame slave who spent his entire life tending goats in a meadow by an azure sea. Blind in one eye as well as old, he wasn’t much to look at. But a rich and powerful king had heard the legends of the slave’s many charming stories. Intrigued, the king bought the slave and set him free, promoting him to court advisor. This did not sit well with the ex-slave’s new colleagues, who had invented the philosophy of democracy among their many other political accomplishments. These learned men conspired to embarrass their new associate and drive him from the court. Seizing upon a prophecy by a powerful oracle, they had the poor fellow sent to solve a diplomatic crisis which should have been well beyond his means. But the clever storyteller rose to the occasion. By relating a simple story, he made peace where war had been looming. As his reward, the newly minted ambassador was granted an audience with the very same oracle whose prophecy he had unwittingly undermined. Cloaked in the promise he would soon find the answer in his lifelong quest to be reunited with his true love, the storyteller was betrayed. Charged with committing blasphemy, he was sentenced to death, where, he realized, he would be reunited forever with the woman he loved. Moral: As good as any story might be, it’s always better when it’s set to music.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     P.K. Silverson and Gary Sironen were introduced to each other at a Dramatists Guild Annual Conference meeting during a writer/composer exchange. Fable Us! is the result of their initial collaboration. At the recommendation of several competitions, the project has also been adapted to a 10-minute musical, Shell Shocked.


BIOS: (biographies for the members of your team)
     ABOUT THE WRITER:  P.K. SILVERSON - BOOK AND LYRICS: A prolific author, playwright and screenwriter, Paul recently earned a gold medal in contemporary fantasy for Lazy Fairy, the final volume of his six novel trilogy, The Magic Triangle, as well as Best Dramedy Screenplay in the Marina del Rey Film Festival. A member of The Dramatists Guild and non-WGA writer, he has sold one horror/thriller feature movie script as a ghostwriter and optioned four screenplays. He resides in Los Angeles, California, where his spouse and inspiration, Kathryn, provides him with a loving link to the real world, such as it is.   ABOUT THE COMPOSER: GARY SIRONEN - MUSIC:  A versatile talent, Gary has written and composed music for two other musicals, composed dozens of worship songs, choral anthems and liturgies and authored several short plays. He’s served as music director on high school and community theater productions. Former Secretary/Treasurer of the Grand Rapids Federation of Musicians, Gary is supported by his lovely wife, Denise, who enables his passions and inspires his creativity.  


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     pksilverson@hotmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     http://fableus.weebly.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:
     Finding Medusa

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Libretto by Madeline Puccioni, Music by Jeff Dunn


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Finding Medusa is a rarity these days--a light opera full of fun, drama, captivating characters, catchy tunes--and surprises! The goddess Athena cons Perseus into being a "hero" by finding and beheading Medusa. In doing so, he meets her three weird sisters, two of which are cannibals and the third vegetarian, and he discovers Medusa is not what she seems. In fact, she wants him to use her head to punish male abusers, which he does so on the way to a triple wedding. It's a feminist take on a classic myth that's a Head of its time!


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     The work has been through a six-year development phase, including two partial showcases and several dramaturg-supervised readings. Several costumed videos and professional recordings have been made of 9 of the 19 scenes. We are looking ideally for a workshop or black-box production of the piano/vocal score to work out any remaining kinks.


BIOS: (biographies for the members of your team)
     

Madeline Puccioni is happy to be back at her real work, after grading English 1A papers for 30 years. Her first full-length play, Two O'Clock Feeding, was produced by The Magic Theatre in SF in 1980 and published in West Coast Plays IV. Raising a family and teaching college English full time left no time to write plays, but since retiring in 2014, she’s written over 40 short plays, and has had most of them produced, hither and thither, all over the world.

Her one-act, Playland Forever, won a spot in the William Inge Festival in 2018. Scene One of her Monticello 2020 won a spot in PlayHouse Creatures’ New Playwrights Festival, NYC, in January 2022. The Cassandra Murders was a semi-finalist in the Bay Area Playwright Festival competition in February. Piercings, a full-length collection of her “sad and hilarious little love stories,” was published by Next Stage Press in April. Her short play, Queen of Sorrows had a full production for Towne Street Theatre’s External Forces show at A Noise Within Theatre in Pasadena in May, and her one-act, The Saturday Nighters, had a full production for B3 Theatre in Scottsdale in June. Her 1913 was up and dancin’ for Spectral Sisters’ New Plays Festival in Alexandria, LA in July 2022. Three of her plays have been scheduled for theaters so far in 2023.

Like Dominique Morisseau, Madeline believes that “good writers see themselves in everybody.” She lives with her handsome Monroe in Oakland, California. She’s having fun.

 

Jeff Dunn, composer, first began to love the creation of musicals when Meredith Willson played a preview of his The Unsinkable Molly Brown on the piano at his childhood home. Earning a B.A. in Music at Grinnell College, where he received the Steiner Prize for musical composition, Jeff went on to a career in academia and project management while composing art songs, a film score (A Wilderness in Your Heart), and chamber works, many of which were performed as part of concerts for the National Association of Composers, USA, where he is a lifetime member.

Jeff has been a music critic in the San Francisco Bay area since 1993, writing for many journals including San Francisco Classical Voice, American Record Guide, and 21st Century Music. His musical Castle Happy (with collaborator John Freed) received a festival run at the Altarena Playhouse in 2017.

As a co-founder of EastBay PlayReaders, Jeff has composed considerable incidental music, including for The Tempest, and, for a PTSD program coordinated by the USS Hornet in Alameda, Sophocles' Ajax.




CONTACT EMAIL: (the email a producer should use to contact you about your musical
     jdunn@mmalameda.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://www.findingmedusa.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:
     For the Record(s)

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Music and Lyrics by Richard Uhrlaub


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Set in the late 1960s through mid-1990s, the original new musical For the Record(s) captures the little-known, sometimes poignant, sometimes humorous dynamics of relinquishment and adoption. Protagonist Joshua Greenman is a young man of Mexican-Italian ancestry, but raised by devoted adoptive parents to believe he is of Jewish origins - until he discovers shocking secrets revealed at summer sleepaway camp. He must overcome obstacles from his parents and government institutions - and from within - to learn the truth about his origins, his identity, and the covert, coercive system that forced his teen mother to surrender him for adoption. He struggles to find a competent therapist, then locates a search and support group who band together to change laws and stand by each other through gut-wrenching emotional challenges. FTR is a heartfelt, at times funny pop/rock/klezmer/salsa/blues/gospel-style musical with a diverse cast and timeless themes about family lost and found.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     
FTR is presented in two Acts and includes 16 songs.  The show has experienced two table readings, most recently after being selected as a top-two finalist at the October 2023 MusicalWriters, Inc. pitch night. The first three scenes were performed at the Colorado New Musical Festival in August 2023, and a full staged reading is scheduled for Friday April 26 at the Untangling Our Roots Summit in Denver!
Based on valuable feedback from directors, actors/singers and audiences, I have reduced the number of characters to 16, added a few short transition scenes and welcome all wisdom on how to refine and improve the show.  I am seeking well-resourced individuals, theatres and organizations who share the show's passion and vision to engage in development next steps (a sizzle reel? a cast recording? a local or regional theatre production? beyond?) on the path to touching hearts, educating minds, and reaching this show's significant global built-in audience. Please have a look at additional song clips and the glowing reactions from audience members and actors on the show's website.  Thanks for considering FTR!


BIOS: (biographies for the members of your team)
     
Rich Uhrlaub, M.Ed.
Rich has worked in the public and private sectors in corporate training/organization development; digital marketing and wireless sales; and risk management/claims administration.  He is a longtime member of Denver's Lighthouse Writers Workshop and a member of the Musical Writers Academy and New Musicals Inc. He is a contributing author of Finding Our Place: 100 Memorable Adoptees, Fostered Persons, and Orphanage Alumni (ABC-CLIO) and Adoption and Mothering (Demeter Press). In the NMI Core Curriculum Program, Rich was the book writer of "For the Good of Humanity," the 15 Minute Frozen Embryo Musical performed at the Broadwater Main Stage in Hollywood. Rich studied piano under the (then) Denver Symphony Orchestra's Kathleen Joiner. Relinquished and adopted shortly after birth, Rich has been a national conference speaker, legislative liaison, and volunteer leader in the adoption search, support and advocacy community for over twenty years. This project is born of that passion.
 
"Much is at stake as the adoption experience reverberates throughout (adoptees') lives and influences them and the people they come into contact with in very fundamental ways." - Rafael Javier, Ph.D. in Handbook of Adoption.
 



CONTACT EMAIL: (the email a producer should use to contact you about your musical
     richuwrites@gmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://www.ftrmusical.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:
     Hidden

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Music & Lyrics by David & Jenny Heitler-Klevans


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Hidden is a musical by David & Jenny Heitler-Klevans based on the true story of Ruth Kapp Hartz, who as a young Jewish girl was hidden in Southern France during World War II. Forced to change her name to Renée Caper in order to conceal her Jewish identity, Ruth and her family rely on the kindness of strangers in a small French village. From a secret apartment to a basement hideout to a Catholic orphanage in a convent, Renée must hide and learn to survive through a series of harrowing events. Dealing with themes of identity, allies, anti-semitism, fascism, resilience and resistance, this musical will resonate with audiences today.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     We have been working on Hidden since 2019. After learning about the story of Ruth Kapp Hartz, we met Ruth through David’s mother and got her enthusiastic support for writing a musical based on her story as a hidden child in Southern France during World War II. She suggested that we go to France with her, so in August 2019 we met up with her in the small town of Arthès to meet the family of some of her rescuers. This visit to France was instrumental in the development of the musical. We interviewed members of the Fedou family, including Lucette who was a young adult when Ruth was hiding there. We saw where she lived and visited the Abbey in Sorèze where Ruth was sent, taking many photos and videos. It grounded us in the sense of place and gave us ideas for songs. We began writing during the pandemic, consulting Ruth frequently. We workshopped our songs at songwriting critique sessions, and took two week-long writing retreats. We had two table readings with actors and received feedback on the show. We also got feedback from several playwrights. Last winter we completed a video of Ruth telling her story as well as excerpts of our interviews with the family of rescuers. We did a screening of the video we produced, and gave several concerts of songs and scenes from the show with additional musicians. In May 2023 we self-produced a “no frills” staged reading of Hidden at Abington Friends School. We raised $30,000 to cover the costs of a director, two music directors, 10 actors, 3 musicians, publicity and all the other expenses. Through this process we reworked the book and music. The full staged reading in a sold-out 400-seat auditorium was live-streamed and recorded. Based on the positive reaction and learnings from the staged reading, we decided to continue to develop and improve the script.  We began this process by working with dramaturg Rick Sperling, David’s high school collaborator and David & Jenny’s college friend. Founder of Mosaic Youth Theatre of Detroit, Rick has a long history of working with playwrights to develop original scripts. Rick has helped us with character  development, character voice and looking at the arc of the show. We have professionally recorded some of the songs using actors from our production. We feel this story is timely and significant. In Ruth Kapp Hartz words “I am very excited about the musical Hidden because I hope that it will provide a new way of increasing the depth and understanding of the experiences of being a hidden child during the Holocaust. David and Jenny have come up with the opportunity to expand my story by expressing the loneliness, the fear, and the loss, as well as the goodness of the Rescuers.” Recent events make it even more imperative that people hear Ruth’s story and that we realize the words “Never Again.”


BIOS: (biographies for the members of your team)
     Jenny Heitler-Klevans, with a career spanning three decades, has worked as a songwriter, performer, recording artist, playwright, and theater artist. In high school and college she performed in classics like "My Fair Lady" and choreographed original dances. Jenny has displayed a deep commitment to storytelling through various mediums. In 1989, Jenny and David combined their talents to create the musical duo Two of a Kind, gaining acclaim for their interactive music for children and families, earning 21 national awards. Beyond their musical success, they empower students as teaching artists in songwriting residencies and creating musical theater pieces based on beloved tales. Their dedication extends to fostering a love for literature, evident in their children’s shows and environmentally themed projects like "The World is Not Your Garbage Can." Their latest venture, the musical Hidden, showcases Jenny's ongoing commitment to pushing artistic boundaries and inspiring audiences of all ages.   David Heitler-Klevans has transformed his lifelong passions for music and social justice into a 30+ year career as a full-time performer, songwriter, and recording artist. He began performing, writing and teaching as a teenager, co-creating and directing a student-written show in high school. At Oberlin Conservatory, he majored in composition, exploring experimental pieces with dramatic and political elements. Upon graduating, he moved to Philadelphia with Jenny, where he became a music teacher and director. In 1989, they founded the musical duo Two of a Kind, creating interactive music for children, folk/singer-songwriter material for adults, and winning 21 national awards. As teaching artists, they conducted songwriting residencies in schools, including student-written musicals. David & Jenny have created short children's musicals for libraries and an environmental musical, "The World is Not Your Garbage Can." Currently, they are immersed in their latest musical, Hidden, a project initiated in 2019.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     david@hiddenthemusical.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://hiddenthemusical.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:
     His Girl Hildy

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book and Lyrics by Katherine Burger, Music by Hye Seon Hong


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     HIS GIRL HILDY is a musical retelling and updating of the fast and funny 1940 classic screwball comedy film HIS GIRL FRIDAY. Newspaper woman Hildy Johnson returns to the Morning Post to tell her boss and recently divorced husband Walter Burns that she’s not coming back to work and is marrying someone else.  Walter sets out to sabotage her plans by involving her in not one but two developing news stories – saving a man from death row, and bringing down a corrupt political regime. It’s a wild, convoluted ride, punctuated with 1940’s style songs. At the end, Hildy realizes that she’s still and always a reporter, and still and always belongs with Walter. The dialogue of the original script has been almost wholly re-written, and the politics revamped to resonate with a contemporary audience.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     This project was developed at the Lehman Engle BMI program, in both the Advanced Musical Theater Workshop, and the Librettists Workshop, where we presented scenes and songs. In 2023 we had a Zoom table read of HIS GIRL HILDY under the auspices of the Librettists workshop, with the songs read as text. We think our next steps should be to have an in-person staged reading with an audience of the entire libretto with the music, do any rewrites arising from that, then record the songs. We will then start looking for investors, producers or suitable theaters. Part of this plan will include creating a website and having an industrial reading.


BIOS: (biographies for the members of your team)
     The seven productions of Katherine Burger’s play MORPHIC RESONANCE include: The Donmar Warehouse Theater in London; Theatre de l’Atelier in Paris; The Westport Country Playhouse; The Kleines Theatre in Berlin; and over Radio BBC. Her one-act WAY DEEP, winner of the Samuel French short play festival and published by them, has been produced throughout the United States. She’s had various productions of other short plays.  Katherine has 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 The Dramatists Guild, Actors and Writers Theater Company, and of the BMI Lehman Engel Musical Theater Workshop, where she was awarded the Harrington Award for best librettist for her musical THE CURSE OF BATVIA. A singer and actor, Katherine has performed in the United States and Europe. Hyeseon Hong, pronounced as "(hay-son) Hong," is a celebrated figure in the jazz world, renowned for her talent as a Korean jazz composer and band leader. Her musical journey has taken her from New York City to Seoul. Her music displays her ability to craft original compositions and intricate arrangements. What sets Hong apart is her gift for fostering a harmonious dialogue between her Korean cultural heritage and the Western musical tradition, a defining theme that resonates deeply within the Hyeseon Hong Jazz Orchestra. Her 19-piece band has been performing at historic NY venues such as "Birdland," "Jazz Gallery," "Symphony Space," and various Jazz Festivals. Furthermore, Hong has embarked on another chapter in her career as an advanced member of BMI, contributing her compositional talent to "HIS GIRL HILDY," a musical project she's been collaborating on with her partner, Katherine Burger. Her multifaceted journey as a band leader, musical scribe, and orchestrator for both small and large ensembles has endowed her with a profound reservoir of knowledge spanning the realms of music and drama.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     katherine.burger@icloud.com


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:
     Infernal: The Musical

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book & Lyrics by Misha Mullany, Music by Brent Morden & Misha Mullany


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     In this coming of age story, we follow Lily down through Dante's Nine Circles of Hell as she learns the price of her choices. She is helped along the way by both friend and foe, though it's hard to know who to trust in Hell. Meet the Sexy, Suave, and Oh-So-Seductive Devil, 7 Deadly Sins, Charon, Eve, and Lilith the Mother of Demons like you've never seen them before. Will The Devil seduce you too? This story, at its heart, is about how we treat each other. Lily represents all of us. She is messy, she is human, and oftentimes she is wrong. So what happens when you realize the errors of your ways, but it’s too late to change your fate? Can we learn to forgive ourselves?


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     Past Development: On January 30th, 2021, we released our 10-song concept album as a standing musical debut via YouTube Live, with over 2,000 views, to date. On October 15-17th, 2021, an expanded 90-min (17 Song) version of the show was presented at the Flea Theater in NYC with a cast of 18, a 5-piece live band, choreography, set, lighting, and costumes. Since then, we have developed the show into a full 2-act production which we presented as an AEA 29 Hour Reading at Theatre 555 in NYC during January 2023. Currently, we are seeking to develop a developmental or enhanced production of Infernal: The Musical on our path to Broadway. Link to Press Kit:https://www.infernalthemusical.com/PressKit


BIOS: (biographies for the members of your team)
     Misha Mullany (She/Her) is a graduate from NYU Tisch's Experimental Theatre Wing and seeks to create art that connects with others and the world. Since graduating she has been joyously creating and discovering her love of writing. Misha has created everything from Digital Theatre, to Devised Work, to Musical Theatre. For the past 3 years, Misha has forged a dynamic creative partnership with Brent Morden, composing their multi-genre musical, Infernal, that blazes an invigorating path into what theater can be, self-producing the show from Concept Album to AEA 29-Hour Reading. She is so grateful for this incredible opportunity to share her work, and for the phenomenal cast and crew who have joined her along this journey. Brent Morden is thrilled to bring his talents as a composer, arranger, and music director to Infernal. Brent’s career has seen him conduct his award-winning band works in venues including Carnegie Hall, write music & lyrics for two comedy musicals produced at Columbia University, and assist acclaimed music director Rob Fisher. Nowadays Brent works as Program Manager for Every Voice Choirs, an NYC-based children’s choir nonprofit, and teaches voice & musical theatre at From Stage to Screen in Huntington, NY. Brent graduated magna cum laude from Columbia University in 2019. In his spare time, Brent enjoys lifting weights and running in the park. More at www.brentmordenmusic.com and @extramordenary.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     misha@theinfernalcompany.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://www.infernalthemusical.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:
     Jest

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book by Savannah Manhattan and Thea Touchton Lyrics and demo music by Thea Touchton


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

Jest Logline: 

 A impoverished female jester, aided by a killer rat,  romantically pursues the princess of her plague ridden land - despite homosexuality being outlawed and her childhood Duke friend being betrothed to the princess.

Shore scripts: “Cheeky musical comedy”

“There's a huge untapped market in multiple age brackets waiting for this original style.”

“Dante is a fantastic character.”

“The sound is the best part of this story. The music and  lyrics are fantastic. They are easy to read within the story, which means they propel the story forward. They are witty at times and downright hilarious at others.”

“The jokes about the plague are the highlight of the dialogue throughout the script.”

“Under 2-hour animated comedy with heart works well.”

“Opening of the script is perfect.”

Golden Script: “Musical subversion of the classic Disney Princess template.”

Launchpad: “Charming and whimsical!”

“Entertaining modern subversion of traditional fairy-tale musical tropes with its lesbian love story that sees Sol pursue her princess and, in the finale, even charge to her rescue.”

“The script twists familiar expectations in other ways, such as in the darkly comic opening number, and the story bristles with imaginative elements (Dante, the clever plague rat, is a highlight). The narrative also ends with a poignant plea for tolerance that ensures the film will have relevance in the modern age. central concept of blending the fairy tale musical with LGBTQ+ themes is refreshing.”

Comps: Shrek meets But I’m A Cheerleader,  The Princess Bride, Dear Evan Hansen, Siz, Book of Mormon.

  Semi finalist Shore Scripts, Page Turner Scripts, and Stage 32 New Voices In Animation 2022..


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     What we are looking for  primarily is funding and more producers join  our team to help make this a reality, as Thea is a disabled producer working on other projects. We are also searching for how to create the Dante the rat puppet. - We have a list of theaters to ask to house the musical across the country (and even some in the UK). - Actors, dancers, singers interested in being in the musical. Gerianne Perèz is set to star as Godina on the stage, as Jessica Darrow is set to star as Godina in the animated one. - Disney animators Mike Polvani and Dave Woodman attached to help lead the animation team. - Kayden Phoenix set to direct animated film. -Have a number of PAs ready to help. -Thirteen demo songs- able to get sheet music for and be adapted. Have some narrowed down composers as options. - Have list of more crew members to reach out to on the animation side. - Projected Budget List -Pitch deck (currently being revamped) - List of costumes, props, locations needed for the production. - Some Los Angeles recording studio options - Rough sketches of some characters. -Business plans for merchandising of t-shirts, hoodies, tote bags, phone cases, costumes, and a plush stuffed Dante. - Staged read through scheduled for June 22nd, 2024.


BIOS: (biographies for the members of your team)
     Savannah Manhattan is a transwoman, pansexual Los Angeles-based writer/producer/comedian. She is the author of There's Something About Theo and The Deadname Triptych. She is also a WhoHaha Comedian to Watch.

Thea Touchton is a non-binary, disabled, Latiné, and pansexual multi international award winning Producer/Actor. They have an Associates Degree in Theatre. Thea is certified in Mental Health First Aid, Human Resources, Covid Compliance, Public Relations, Image Consulting, Motivational Speaking, and Event Planning. They are monetized on YouTube and have about 20K across their social platforms. They completed a production company training program called DRAESIS. Nowadays, they are involved in the SAG-AFTRA Next Generation, Disability, and Women’s Committee and were recognized for their mental health advocacy at MTV’s Mental Health Youth Action Forum at the White House. They enjoy taking pictures of their creative friends,  reviewing films on their YouTube channel and podcast, writing poetry, as well as putting their cats in sweaters and bow ties.

  .


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     theatouchton@gmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     http://suenitomedia.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:
     Jesus Got a Girlfriend

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book and Lyrics: Jim Stevens. Composer: Ryan C. McNally


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     The title: Jesus Got a Girlfriend. pretty much says it all.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     Production of play


BIOS: (biographies for the members of your team)
     see website


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     jimstevenswriter@gmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     www.jesusgotagirlfriend.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:
     Leave The Cannoli

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book & Lyrics by Gary Apple, Music by Logan Medland


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Leave The Cannoli is a musical comedy that reveals how the horsehead got into the producer's bed in The Godfather. Two low-level mobsters  screw up a simple hit job and, as punishment, are given the worst assignment in the history of organized crime. They must:
  • Sneak into a producer’s compound in the middle of the night
  • Gain access to the world's most valuable racehorse
  • Kill it and cut off its head
  • Then enter the producer's mansion and slip it under his bedcovers without waking him up.
Realizing the job is too big for the two of them, they assemble a team of quirky experts to help them. Their lives depend on the successful completion of the mission.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     

We developed Leave The Cannoli during the pandemic and there have been no productions yet. Besides developmental table reads, we have presented staged readings at The Crane Theater, The Actor's Temple and Urban Stages.

The script was developed by Gary in the BMI Librettist Workshop. NOTE: Though set in the world of The Godfather, Leave The Cannoli does not use any characters, dialogue, or scenes from the movie series. It’s more like Rosencrantz & Guildenstern -- the story behind the story everybody knows.


BIOS: (biographies for the members of your team)
     GARY APPLE is a comedy writer with multiple credits in theater, sitcoms, and animation, including The Simpsons. He wrote the book, music and lyrics for Christmas In Hell, an award-wining show which ran Off-Broadway at The York Theatre (2018) and in Las Vegas (2022). Samuel French publishes four of his one-act plays, which have received hundreds of productions nationwide. He’s a member of the BMI Musical Theater Workshop and the BMI Librettist Workshop. LOGAN MEDLAND is the writer, composer and lyricist of Fingers and Toes (NYMF 2010) and three subsequent Equity productions. (The Rev Theatre, The Plaza Theatre, The Ivoryton Playhouse) He’s also the composer/lyricist of Love Goddess: The Rita Hayworth Musical (Off-West End, Cockpit Theatre, 2022) He’s been a pianist and musical director on two Broadway shows and ten national tours.

SONGS

DEMO 1: The Benefits Of Never Getting Older - Mariano and Sebastian think they are going to be killed for screwing up an assignment.

DEMO 2:  After We Kill The Horse - The night before the mission, Mariano invites Arlene outfor a cocktail. DEMO 3: Meadow In The Sky - Sebastian sings this song over the fallen stallion.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     jokewriter@gmail.com


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:
     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!)
     

Set mostly in the 1940s, “Love is Afoot!” is a musical romantic comedy that explores the subject of discrimination from a unique perspective.

At its core, the musical is about two love-struck sweethearts and their struggle to be together. It chronicles the life and times of Joseph Smoot-Nibley and his journey for acceptance and quest to find his “sole-mate.” Joe’s a hopeless romantic, in love with the girl of his dreams and more specifically... her feet!

That girl is Rose Marie Pedals, and it was love at first sniff and tickle the moment they met at Joe’s shoeshine stand. Rose Marie is beautiful inside and out. She loves, adores, and understands Joe’s desires because she’s got a “thing” for feet herself. But because it’s labeled a forbidden love by society and due to their different socio-economic classes, they’re pulled apart again and again.

Giving in to peer pressure, Rose Marie ends up unhappily married to the rich, popular jock, Buzz, leaving Joe to settle down with a crabby malcontent named, Millie, who treats Joe like dirt. Millie’s only redeeming quality is the extra toe she has on each of her oversized feet. But twelve toes aren’t enough to make up for the ten that got away.

Joe takes a job at a sock-factory working for Millie’s abrasive father. Joe’s excited to be working with “digits” until he learns that the digits are just invoice numbers in accounting.  Joe is miserable.

It's through sage love advice from a magical Italian shoe cobbler named Luigi, and through song and dance, that Joe and Rose Marie learn about the importance of acceptance, love and staying true to oneself.

 


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     

Based on an award-winning film noir short, we initially set out to make “Love Is Afoot!” as a musical feature film. Just as we were finishing a 15-song soundtrack, the pandemic arrived.  Covid forced us to re-evaluate our path forward. With the “big screen” shut down and our disinterest in streaming, we pivoted.

Leaning on our soundtrack, in early 2021, we repurposed “Love Is Afoot!” for stage and began adapting the screenplay.  During the pandemic, we went back to the studio and started perfecting the music bringing sound and vocal arranger, Tim Davis on board, a true master of Big Band. We dedicated themselves  to the music knowing the songs had to exceed expectations because of the play's “unusual” subject matter.

The “Love Is Afoot!” soundtrack is broad and ambitious. Our songs are varied and unique with lyrics that take you from love to laughter. To date, we’ve been honored with 8 awards in both story and music. Four BEST SCORE awards for our torch song, “Special Someone,” and four BEST SCREENPLAY awards for the story itself.

In August 2023, we produced the workshop production of “Love Is Afoot!” at the Miller Center for the Arts in Pennsylvania, which included a cast of 17, an orchestra pit of 6 and another 23 of crew and creatives. It was a smashing success with standing ovations and a thoroughly delighted audience.

Now, fresh off the workshop with a new rewrite and a brand-new song that kicks off Act 2, we’re ready for a bigger audience and a bigger stage. We’re confident that “Love Is Afoot!” has all the ingredients to delight a diverse audience- young and old, gay and straight, urban and rural, and all of it swinging to a Big Band orchestra.

More than ever, we believe it’s the perfect time for a musical that swims in silliness yet still finds a way to share an important message of love, equality and hope through comedy and music.




BIOS: (biographies for the members of your team)
     
Michael LaFata - For the last 3 decades, Michael has lived a wide ranging life. With a creative business background, as well as a life-long creative passion for comedy, somehow along the way, he's been able to weave both disciplines, improbably, though successfully capitalizing on right brain/left brain harmony. From Improv (Bay Area Theatresports) in SF in his 20s to stand-up and sketch comedy clubs in Oakland (Toppers) and LA (LA Connection, ACME Comedy Theater, The Comedy Store, UCB) in his 30s, comedy was always his lodestar– writing or preforming.
Coincidently, during this same period, he was a senior executive in multiple companies and start-ups. A decade vanished by the time he realized his funny bone was broken. In 2014, he officially retired the suit to produce, “fish-out-of-water” stories; an idiom he knows quite well. His current project, "Love Is Afoot!" exemplifies this "fish-out-of-water" theme perfectly.  
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).



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:
     Love Rocks!

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book by David Freilich, Music by Nigel Gilchrist and Michael Hatfield, Lyrics by David Freilich and Nigel Gilchrist


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Love Rocks! tells the story of Nigel and Bee Gilchrist, players in the early London rock 'n roll scene, as they strive to keep their love going during the turbulent 1960s. Will new business opportunities in San Francisco derail their marriage once and for all, or will love eternal prevail? A jolly good cast of family and friends join them on their spiritual journey! Love Rocks! features brand new stunning love songs, duets, and dance numbers, as well as rock songs actually composed in the 1960s. Plus a witty script filled with heartfelt emotion, soul, and repartee.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     Love Rocks! was completed in 2023 after a successful table reading by community theater actors. We are looking to work with producers, agents and theaters to launch this musical all the way to Broadway!


BIOS: (biographies for the members of your team)
     NIGEL GILCHRIST: Born in Kent County, England, Nigel began playing in rock and pop bands and writing songs at age 16. He started his own touring band, "The Gentle Madness", later morphed into the "Canterbury Tales", and toured Germany, Scandinavia and the clubs in Kent and in and around London until he married in 1969. After ceasing touring, Nigel turned his attention to his family and working for a music equipment  sales and production company in London in the late 60s and early 70s. While there he worked with all the hottest acts like the Beatles, Eric Clapton, The Who, Elton John, Rod Stewart, Barbra Streisand, Tony Bennett, Monty Python, Benny Hill, and with BBC TV productions and Richard Branson's Manor Studios.  He also worked for George Harrison at George's home, Friar Park. Nigel conceived of the idea for the company to rent musical equipment to touring bands rather then selling it, and that business took off. Nigel moved to San Francisco in the early 8os to expand overseas and eventually owned his own music equipment rental company. Love Rocks! is based loosely in his journey from London to San Francisco. KAREN GILCHRIST: Karen grew up in Michigan in the 60s with a love of rock 'n roll, R&B, and Motown. After law school, she moved to San Francisco in the 70s and developed a career as a licensing attorney in the music merchandising business working for the biggest merchandising company in the Bay Area. There she worked on license agreements with artists such as the Doobie Brothers, Santana, Billy Joel, Kiss, Madonna, and the Beatles. DAVID FREILICH: David is a retired corporate lawyer and corporate communications executive. He writes lyrics for all types of musical genres, but especially country-western, and he edits novels.  His company makes ongoing investments in a variety of creative enterprises.
HEIDI FREILICH: Heidi loves the theater and advises on audience engagement.  She is involved in marketing for Love Rocks!
 


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     karen@loverocksmusical.com


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:
     MEET ME THERE, The Interfaith Musical

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Music and Lyrics by Ruth Broyde Sharone


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     A musical for our times: When Maya, a Jewish mother, and Qaletaqa, an Indigenous father, forbid their children to marry, they unleash a huge cultural and intergenerational storm (imagine Fiddler on the Roof meets West Side Story). With lyrics both hilarious and heartrending, MEET ME THERE, The Interfaith Musical asks: How can we honor our traditions and values while simultaneously making room for our ever-expanding religious and cultural diversity?  And beyond that lies the question that every parent must one day answer:  If our children refuse to  follow the path we chose for them, don't they still deserve our blessing?


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     We are now in the process of contacting university drama departments to workshop the play and refine the script. We are seeking a potential director, producer, and choreographer. Our goal is to secure a workshop production at a university and an on-stage full-theatrical performance by early 2025.  Below is a history of the project. 2017  Completion of the first draft of the libretto and the first read-thru. 2018  Ruth presents her interfaith musical project and one of the songs “Let’s Make Room at the Table” at the 2018 Parliament of the World’s Religions in Toronto, Canada to an audience of 4,000. 2019  The CEO of the Pico Union Project in LA, a public performance space, invites Ruth to showcase eight songs from the musical in May 2019.  African-American, Asian, Latino, American and Israeli singers perform for one night to a sold-out audience.  Ruth is invited to perform at two other venues but the pandemic intervenes and all performances are canceled. 2021-22  Phil Schroeder, a dramaturg based in Boston, works on the libretto with Ruth 2022  Official release of Vol. #2-- with 11 new songs-- lyrics and music by Ruth Four professional musical theater consultants provide feedback: *  Catherine Jones (The Way of Story: The Craft and Soul of Writing, Playwright of Musical  (Calamity Jane); *  Elise Dewsbery (Artistic Director of New Musicals Inc.); *  Anita Sarner (I Only Have Eyes for You (Musical), Blue Sky (film)  and Peggy Sue Got Married (film) *  Yuval Ron, Oscar-winning composer Two Indigenous experts provide ongoing advice and feedback for songs and story elements: *Chief Daniel Ramos, of Choctaw, Muskogee, Yamassee and Mayan Nations *Chief Phil Lane, Jr. Hereditary Chief, member of Ihanktonwan, Dakota and Chickasaw Nations 2022 The second read-thru is held, organized by New Musicals Inc. in LA in December 2022 with 20 actors. 2023    Ruth presents the title song "Meet Me There" at the Sacred Music Concert--organized by the Parliament of the World's Religions in Chicago-- for some 7,000 participants.The performance is simultaneously live-streamed around the world. Two songs from the musical are selected to be performed by local actors/singers during Cabaret Night at the Music Writers’ Academy in Ft. Worth Texas in July 2023. (“I’m a Bu-Jew” was performed by Major Attaway, the actor who played the genie in Aladdin on Broadway for four years.) The Religion Communicators Council (RCC) awards Album #2 a special  Wilbur“Award of Merit”-- the first time an album was “deemed meritorious and worthy of acknowledgement.” In 2024, the title song wins another Wilbur Award of Merit. Meet Me There Pitch Deck  


BIOS: (biographies for the members of your team)
     RUTH BROYDE SHARONE,  composer, lyricist, librettist For Ruth Broyde Sharone, a stranger is only someone we haven’t yet met.  Ruth had been working as a documentary filmmaker, journalist, author and interfaith leader for 30 years when, in 2014, she experienced  “a cosmic download" of 30 songs. The first words of the first song were:  “What if, when you awoke, you were wearing a stranger’s shoes?” Thus began her audacious, unpredictable journey to create MEET ME THERE, The Interfaith Musical,  as a mainstream celebration of our religious and cultural diversity.  After releasing two albums in 2015 and 2022, as composer and lyricist, Ruth hired a Boston dramaturg to help her write the libretto.  She is now ready to workshop the play and then take it to the Big Stage.  In 2013, in recognition of her lifetime of bridge-building, Ruth was invited to join the Martin Luther King Advisory Board of Morehouse College. The same year she received a special commendation for her Interfaith Leadership from LA Mayor Eric Garcetti. The International Human Rights Consortium (IHRC) awarded her a Fete d'Excellence gold medal in Geneva in 2000 for her contributions to cultural education. Together with an African-American minister, Ruth pioneered ground-breaking interfaith pilgrimages to the Middle East in the 90s featured on CNN World News in 1994. In 2007 she co-founded and served as Co-Chair of the Southern California Parliament of the World's Religions for 10 years. Her documentary, “God and Allah Need to Talk,” and her interfaith memoir, Minefields & Miracles--considered a primer in interfaith engagement-- received multiple awards. Ruth also contributed more than 50 articles to the online magazine, The Interfaith Observer, and co-authored the 2018 Amazon best-seller, 21st Century Voices: Women Who Influence, Inspire, and Make a Difference. Ruth is a mother of two and a mentor to many. KC DAUGIRDAS,  Music Director and Arranger for all of the songs:  Kc is an award-winning composer, orchestrator, and conductor based in Chicago.  Best known as a choral composer, he will be featured at the historic 2024 Lithuanian Song Festival in Vilnius, Lithuania, performed by over 10,000 singers.  Fun fact: When Kc arrived in the USA as a young boy from Lithuania, none of his classmates had ever heard of Lithuania, so they decided he must be "Lutheran."


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     interfaiththemusical@gmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://www.interfaiththemusical.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:
     NOT ANOTHER HIGH SCHOOL MUSICAL

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Music & Lyrics by JJ NOVEMBRINI; Additional Music & Lyrics by RYAN L. WELLER


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

He’s poor. She’s dead. They’re a whore. She’s got a yeast infection…  And they need you to SUPPORT THE ARTS!

Disguised as a partially true story and spoof of the popular Disney films, our “grown-up” Absurdist farce is from the vantage point of the troublemaking adults after the gleeful high school musical! This is the heartwarming tale of two broke losers — Vinnie, a genderqueer slut, and Boris, an annoyed hungry Jew — who face poverty in pursuit of their dreams when their old high school commissions them to write a televised musical to save the National Endowment for the Arts; they end up penning a controversial jaw-dropper entitled Hobo Heaven: Turn Off the Poor. Along the way, they’re forced to grapple with homelessness, artistic prostitution, a stoned Martha Stewart, and death! With perhaps the greatest “ten-thirteen showstopper” in the history of Polish folk songs, Not Another High School Musical explores the concept of creating art, the pros/cons of ambition, and the self-discovery process artists must endure as it wraps itself in a delicious, whimsical message. Beyond the $4 billion Disney franchise, this show’s a gloss on every musical about or set in a high school — from Grease to Mean Girls, the genre will always prove to have a ubiquitous durability. The eclectic and baffling score of punk-rock to polka, with such tunes as “Hobo Heaven”, “An Apple a Day”, “Whore For the Arts”, “In the Shadows”, “Good Thing”, and “You’re Still Jewish?”, (deemed too offensive) will leave audiences crying as the story crashes to a chilling resolution...although we did cut the risqué scene where Martha cooks the turkey in a trash can.

Here’s what regional producers/artistic directors are saying:
  • “...THE SCARY MOVIE OF HIGH SCHOOL MUSICALS!”
  • “SCATHINGLY BRILLIANT!”
  • “BRUTALLY FUNNY!”
  • “FRESH ORIGINAL IDEA!”
  • “PLAIN OBNOXIOUS!”
  • “MY AUNT DIDN’T HATE IT!”

ASK ABOUT OUR NEW CONCEPT ART!


Two-act book musical; 7 principals plus ensemble; Appropriate for mature audiences (contains explicit content including strong language, sexual references, drug use, comic violence, adult themes, and nuns)

Entertainment has never been so poor!




HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     

HISTORY & FUTURE DEVELOPMENT

NYU (concept workshop), Red Wagon (co-directed). Cancelled production in 2021.

We are seeking a passionate, daring producer that wants to push the envelope of vanilla, safe, depressing theatre. How many goddamn shows of classic old stories or innocuous big band-throwbacks can we watch?!


NOT ANOTHER HIGH SCHOOL MUSICAL initially began life as a much-hyped fundraiser, premiering to an invited New York audience. All involved with that intimate production had a most rewarding experience. The book and score were then outfitted with fresher jokes and tighter lyrics for a reading I co-directed. As a more seasoned writer, I’ve refined the play’s themes and streamlined/restructured the bloated narrative. While the rewrites indicated marked improvement, the work demanded another full-scale production. Criminally, my chance to properly re-stage the material has yet to come to fruition — “version 2.0” deserves that opportunity to be unleashed…and soon (these characters have actually spoken to me in my sleep)!!

An eerie, serendipitous thing happened between the show’s conception and the present day: the economy bottomed out and threw the nation into a recession, mirroring the plot’s trajectory. Subsequently, funding for the National Endowment for the Arts and arts education were heavily slashed for the 26,000+ high schools in the country. As arts education has faced a historic defunding, this topical tale of impoverishment has a timely relevance to the current socioeconomic climate. We are currently accepting options for further development. The original workshop revealed that NAHSM connects with audiences about our world and entertains as it enlightens. Audiences loved it because they laughed, but also because they learned something.
NOT ANOTHER HIGH SCHOOL MUSICAL is an all-out farce that is grounded in fear, bitterness, desperation, and artistic integrity. The show is stuffed with nonstop jokes and silly situations that make for hilarity, but also features characters who move us, holding a mirror up to ourselves and the choices we make. The comedy is on the page and doesn’t need exaggeration – rather, played for its honesty. At the heart of any farce lies truth. As the piece reaches the sentiment via the satire, it should prove to be less campy and instead evoke pathos. It’s absurd, it’s vulgar, it’s shocking…but at its core, it explores personal growth and learning how actions affect others.

“We all need a little bit of art to remind us we’re human.”

May the magic be with you~




BIOS: (biographies for the members of your team)
     
JJ Novembrini (Book, Composer & Lyricist) once described himself as a writer who transmogrifies epic dramas and Gothic thrillers into exhilarating, thought-provoking theatre...but he was totally lying. JJ attended New York University’s Steinhardt School of Music (Theory & Composition) where he studied with Dr. Steven Rosenhaus and Dr. Youngmi Ha, who dubbed his pieces “whimsical” and “so late”. As a featured songwriter, JJ was a recipient of the NYU Student Spotlight for excellence. He has taught piano privately and served as pianist for masterclasses, recitals, charity benefits, and religious institutions. The majority of JJ’s time has been wasted as composer, lyricist, librettist, joke ghostwriter, music director, and keyboardist for an array of high school, collegiate, and regional projects, as well as award-losing indie films that place as festival finalists. Several of JJ’s original works have received production, among them being Not Another High School Musical (Red Wagon); Charles Dickens’ Great Expectations (Appleseed Productions); Pharaoh! A Comedy in Ten Plagues (NYU Black Box); and a song cycle based on the novel The Body of Christopher Creed (Office Hours). He is a member of the Dramatists Guild and BMI. JJ has also earned distinction as being one of the world’s foremost historians on the great Bea Arthur. He actively continues his global search for remnants of her teeth. In loving memory of his grandmother, JJ dedicates all the show’s jokes that he stole from her. Ryan L. Weller (Additional Music & Lyrics) is a world traveling New Yorker whose education has taken him to faraway lands such as Jordan, Germany, Beijing, and Brooklyn. A graduate of University of Rochester (B.A. in Music), his political science cravings and appetite for diplomatic relations led him to dine as an ESL Instructor at China University of Geosciences, devour studies at University of Jordan, and feast at NYU School of Law. Currently a lawyer in NYC, Weller reminds JJ Novembrini that youth is fleeting, but immaturity is forever. Like diamonds. He would like audiences to know the portions of this score you find brilliant and musically enchanting are, indeed, his. However, if you think it stinks, Weller affirms that he has nothing to do with the show. Jeremy F. Goodman (Co-Orchestrations & Music Arrangements), whose work was most recently heard at Burning Man, completed his Master of Music in Film Scoring and his Bachelor of Music in Music Composition at New York University. Jeremy was the music director and pianist for “Annie Turns 40: Back to the Orphanage” starring Andrea McArdle. CBS featured a special from the event on CBS’s “Sunday Morning” series. Jeremy's arrangements have been played by roughly a dozen orchestras and ensembles in the United States and Canada, most notably, the National Symphony Orchestra at the Kennedy Center. His original Latin jazz music can be heard on his CD The Jeremy Franklin Goodman Project: An Evening of Live Latin Jazz. Jeremy orchestrated, arranged, and musically supervised Assisted Living: The Musical by Rick Compton and Betsy Bennett. He a member of ASCAP and the American Federation of Musicians. www.jeremyfgoodmanmusic.com

Added April 24th:

NEW! Studio demo with Hannah Bonnett as Martha Stewart in the cutesy production number “An Apple a Day”!




CONTACT EMAIL: (the email a producer should use to contact you about your musical
     jjnovembrini@outlook.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://notanotherhighschoolmusical.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:
     Sense and Sensibility: A Modern Musical

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Music, and Lyrics by Madeleine A. Booth


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

After losing her job, her apartment, and her father, Elinor Dashwood has to pick up the pieces and make a new life for her and her sister Marianne. Based on the timeless novel, Sense & Sensibility: A Modern Musical takes Jane Austen to new heights in modern day New York with a diverse cast and a contemporary singer-songwriter influenced score. Follow Elinor and Marianne as they navigate life together on this heartwarming story of love, loss, and sisterhood.




HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     Sense & Sensibility: A Modern Musical began as Madeleine A. Booth's master’s thesis at the Catholic University of America. The first songs were written in early 2019, and Angelisa Gillyard became attached to the project as director and began helping the development of the production later that year. Sense & Sensibility had two read-throughs in 2020 and 2021, culminating in a thesis performance in November of 2021. The thesis production was a fully staged and costumed performance of Act 1 followed by musical selections from Act 2 in with piano, percussion, and a cast of 14 people. After graduating with a master's in music in composition (Stage Music Emphasis) in May 2022, Madeleine A. Booth continued working with Angelisa Gillyard and finalized the next full draft of the musical in December 2023. The next step for Sense & Sensibility is to create well produced demos to be used for festival applications or as proof of concept for producers, with the goal of finding a home for Sense and working towards a full scale production.  




BIOS: (biographies for the members of your team)
     Madeleine A. Booth is a composer, lyricist, book-writer/librettist, music director, and mezzo-soprano based in the DC/Maryland area. She holds a M.M. in Composition (Stage Music Emphasis) from The Catholic University of America, and a B.M. in Music Education from Boise State University. Equally at home in the theatrical and concert spheres, her compositions range from full-length musicals to small chamber works. She is a proud member of ASCAP and the Dramatists Guild. Angelisa Gillyard is a Helen Hayes Award-nominated director, choreographer and educator based out of Washington, DC. Most recently she served as associate director for the Broadway and Off-Broadway productions of Days of Wine and Roses.  She directed and choreographed the Helen Hayes nominated productions of The Hula-Hoopin’ Queen for Imagination Stage and Once on This Island for Constellation Theatre Company.  Angelisa also co-directed the Helen Hayes nominated Day of Absence with Raymond O. Caldwell at Theater Alliance.  Her direction and choreography have also been seen at Arena Stage, 1st Stage, Studio Theatre, Signature Theatre, Folger Theatre, and several DC area colleges and universities.  Angelisa has an MBA, PhD in business and MFA in directing from Catholic University.  Follow for more information visit www.angelisa.net


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     madeleine.a.booth@gmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://www.madeleineabooth.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:
     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/


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:
     SOFONIZBA

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book & Lyrics by Bobby Crawford, Music by Howlett Smith


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

SOFONIZBA

North Africa, 203 B.C.  Superpowers Rome and Carthage are at war. Roman General Scipio has found and financed the military recovery of MASSINISSA, the fugitive king of Numidia, overthrown by Carthage 15 years ago. Massinissa now marches to reclaim his capital from Carthage.  SOFONIZBA, a savvy Carthaginian princess, is dispatched by her father—Supreme commander of the Carthaginian army—to intercept, seduce, and impede Massinissa’s march, allowing her father time to reinforce the capital against him. Betrothed before Massinissa’s exile, their reunion rekindles the raw passions they alone arouse in one another. Authorities on both sides are right to worry.  The cross-purposes of these two conflicted passionate people may very well decide which empire, Rome or Carthage, will survive to rule the Mediterranean for the next thousand years…




HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     

HISTORY of SOFONIZBA

I had always envisioned Sofonizba as a musical, but originally wrote it as a play.  It was the chance meeting and mentorship of Howlett Smith that propelled me past the limitations of my self-study in musical theater. Sofonizba has had two concert readings, both performed at UCLA, before theater students and invited members of the Los Angeles Lehman Engel Musical Theater Workshop, circa 1987-9.  While the show was fairly well received, both readings provided Howlett and I a slew of sobering and helpful notes that would greatly inform our revisions in years to come.  Quite frankly, in the many intervening years, Howlett and I pretty much neglected Sofonizba as he worked to support his family, and I went off to film school and later pursued filmmaking.  When we finally reconvened, several years later, it was primarily to move on and compose new shows. A phenomenal arranger with lush mid twentieth century sentimental tastes, Howlett ultimately came to recognize the need and value of us engaging an arranger with more cutting-edge sensibilities to compliment and enhance his gorgeous classically inspired compositions for 21st-century audiences. That was 2014.  It would be three years before I’d find the full-flowered amalgam of influences I was seeking in a single individual. Jamaican born Boris “Franz” Richards is a classically trained R&B, Hip-Hop, and jazz arranger and studio engineer who, on a daily basis, facilitates the finesse of a wide range of musically styled recording artists.  He instantly fell in love with Howlett’s music. Where everyone else demanded a minimum $2500 a song, Franz—if not for his necessarily more prudent wife—might have paid us for the chance to do the work. So, as dementia was increasingly dimishing the once formidable powers of my beloved composer, Franz was breathing new life into all of our works.  Howlett marveled at everything he heard from Franz, even as he needed reminding that they were all his own compositions. “Really?!” he’d laugh in amazement, joying in the discovery anew, each time. When Howlett finally entered hospice, Lehman Engel Musical Theater Workshop founder & co-director John Sparks helped me hurry to mount a reading of Howlett’s & my In the Shadow of Zapata, at the City Club, Los Angeles (See Pics).  Quite fortuitously, Howlett passed the night before, fully enabling his Spirit to attend the festivities. Covid would completely stall all further unveiling of our heretofore unknown works to the world.  Finally, in 2022, I submitted Sofonizba to the O’neil’s National Musical Theatre  Conference, where it made it to the semi-final round.  It is currently wending its way through NAMT. From 2018 on into the early days of Covid, I studied Broadway Producing as a part of Ken Davenport’s TheaterMakers Inner Circle.  Meeting top performers, producers, designers, and investors has given me an appreciation for the risky, rugged yet fulfilling work producing can be.  I know our shows.  I know our audiences. Our shows are admittedly large spectacle shows.  To that end, I’ve contemplated strategies to make mounting them less financially daunting.


BIOS: (biographies for the members of your team)
     

Howlett Smith

Composer

(1933 – 2019)

Howlett began studying music at the age of eight at the School for the Deaf and the Blind in Tucson, Arizona.  By age 14, he booked his first professional gig and worked professionally right up until he passed.                                                                                                                                                                                                His songs have been performed and recorded by Nancy Wilson, Andy Williams, Peggy Lee, Glenn Campbell, Karen Carpenter, Steve Lawrence & Eydie Gorme, and Spanky Wilson. Howlett was one of the original members of the Lehman Engel Musical Theatre Workshop, studying alongside Maury Yeston (Nine), Ed Kleban (A Chorus Line), and workshop founder and co-Director John Sparks. Howlett went on to write several musicals and was the music director for the Broadway showMe and Bessie,” which starred famed gospel and blues singer Linda Hopkins.

Bobby Crawford

Book & Lyrics & Additional Music

Bobby is a playwright, screenwriter, lyricist and director of stage and film.  He is a product of Howard University (Owen Dodson Award—Best Play);  UCLA (Samuel Goldwyn Screenwriting Finalist); Catholic University of America (Best Director & Best Production); and the American Film Institute (Nominated Most Likely to Succeed at Cannes). Bobby’s play The Brass Medallion won an Excellence in Playwriting Award from the American College Theater Festival, which made Bobby—at the time—the youngest person and first African American to have an original work produced in the Eisenhower Theater of the Kennedy Center for the Performing Arts. Bobby served on the staff of two comedy series, The New Odd Couple and 227 where NBC head Brandon Tartikoff selected lowly staff writer Bobby’s episode Honesty to premiere the series in place of the series Pilot episode.  Bobby later wrote the film, A Rage In Harlem, starring Forrest Whittaker, Danny Glover and Gregory Hines. With his late partner, noted composer Howlett Smith, Bobby has penned three musical theater spectacles: Sofonizba; In the Shadow of Zapata; and Khubilai: Mothered to Manhood.  


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     bobbyc2277@gmail.com


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:
     The Dividing Line

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Music, and Lyrics by Michael Turnblom


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     José is rocked by the deportation of his older brother and resolves to study law. Opportunity knocks when he meets Ben, the U.S. district attorney’s son. The young men forge a friendship during an internship, but their differences are marked as they navigate the conflicting dynamics of parents, friends, and the rich and poor sides of town. Everything backfires when José is fired and Ben quits on his dad. José must decide whether to face the adversity that comes with pursuing his dreams, or to follow the path of his brother. Ben must decide whether to do what is easy, or what is right. The choice will bring both friends to the brink of life and death.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     This show has gone through various stages of development over the past few years, including several Zoom readings and a fully sung live reading in October 2023. I’m looking for an opportunity to move into the next stage of development and ideally see the piece on its feet. The show's central themes of overcoming division, pulling down barriers, and casting a spotlight on immigration have become ever more relevant, so I am committed to continuing my work on the show and making efforts to share it with the public, in hopes that its message can encourage love, unity, and healing.


BIOS: (biographies for the members of your team)
     Michael Turnblom is a composer, conductor, and performer who writes for the stage and concert hall. In addition to The Dividing Line, recent collaborations include Brewed Ambition (2nd Prize, Search for New Musicals, New Musicals Inc.) and The Little Red Hen (both with bookwriter/co-lyricist BK Wells), as well as Habitual Mirrors (book by Elena Lockleis, lyrics by Stephanie Bentley and Tatiana Gomez) and For Richer and for Poorer (book by Kim Bixler, lyrics by Greg Beattie) (both premiered at Broadwater Mainstage, Hollywood). As a singer, Michael has performed with the a cappella groups True Concord and De Angeles Vocal Ensemble, and he is a bilingual cantor for Christ Cathedral in Garden Grove, California. Fluent in several languages, Michael has collaborated with choirs and artists across Europe and Latin America. From his home in Los Angeles, Michael enjoys helping at-risk teens train for their first marathon. Michael holds graduate degrees from the University of Michigan and University of Arizona, where he completed studies in vocal performance, conducting, composition, and orchestration.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     michael.turnblom@gmail.com


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:
     The Lab

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, lyrics and Music by Sharon Eitan


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     A tale of intrigue and romance set in a physics research lab and leading to the eventual invention of time-travel. Having found that he's terminally ill, physicist John Horner covers up a serious problem in an experiment supposedly confirming his theory of time, in the hope that his protégé, Emilia Jones, may thus resume the work after his death. He hides his condition from his spouse, Steve, and their daughter Jemma, and grows increasingly isolated, but, in an act of kindness, helps unite Emilia with Ajoy Roy, a young physicist secretly in love with her. Ajoy unintentionally exposes the experiment's weakness to a reporter, and scandal follows, shattering both Horner’s reputation and Ajoy and Emilia’s relationship. Horner despairs, but regains confidence after encountering Emilia and Ajoy’s future children, who have accidentally time-traveled to the present from the future lab where their parents will one day follow up on Horner's work and build a time machine. Horner manages one final breakthrough, opens up to Steve, and bequeathes his intellectual property to Emilia, urging her to renew her collaboration with Ajoy. He then passes, assured of Steve’s love and confident in the fruition of his life’s work. Emilia and Ajoy reunite, and the show ends in a celebration of Horner's life.  


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     I started developing “The Lab” in early 2021 and finished writing the book and lyrics by the end of that year. Though the story and characters are fictional, the inspiration came from my personal experiences in physics (see Bio).  I composed the music intermittently in 2022-2023, and in the second half of 2023 recorded demos for all of the musical numbers. On January 2024 I submitted the musical to the NAMT festival of new musicals. I think the next thing to look for would be a staged reading or a workshop production.


BIOS: (biographies for the members of your team)
     Sharon Eitan was born in Israel and spent his early childhood in France and Belgium before returning to Israel. He studied at the Rubin Academy of music in Tel-Aviv and received an MA degree in composition from Bar-Ilan University. During the 1990's he was active as a professional composer of art music, with many chamber, orchestral and vocal works performed by professional ensembles, such as the Bilbao Symphony Orchestra, the Cuban Symphony Orchestra, the Israel Philharmonic string quartet, the Viennese opera company Musiktheater Opus Modern, the Bochman Quartet (Oxford), the Musica Nova ensemble (Tel-Aviv) and many others. Around the year 2000 he started working as a computer programmer and studying physics and math, and also did some research; though he did not remain long in scientific research, his article “Toward a geometrical foundation for physics”, where he proposed a radically new framework for the mathematical foundation of physics, was published in the peer reviewed journal “Quantum Studies: Mathematics and Foundations”. He occasionally recorded some pop/rock songs, and around 2015 he started writing musicals in Hebrew and English - book, lyrics and music. He lives in Israel with his teenage son.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     sharoneitanphysics@gmail.com


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:
     The Marquee Folio

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book and Lyrics by Marcus Terrell Smith, Music by Robin Schäfer


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Broadway has historically been celebrated for its original and groundbreaking productions, but in recent years, the industry has become far too risk-averse, formulaic, uncreative and unoriginal in its choice of content. Jukebox musicals may attract audiences familiar with the music, but they have utterly stifled creativity and original storytelling; while adaptations for the stage lack of creativity and originality. The Marquee Folio (TMF) has a bold mission to rekindle the magic of Broadway with original, captivating, and unforgettable musicals. In an age dominated by jukebox flops and bland film adaptations, we stand as the vanguard of innovation, committed to restoring the heart and soul of Broadway by crafting fresh, original stories that will transport audiences to uncharted realms of theatrical wonder. With three exciting new productions straight from the minds of the incredible writing duo, Smith & Schäfer, we are breathing new life into the iconic Broadway stage.  Join us on this thrilling journey, where the future of Broadway is reimagined, THREE unforgettable performances at a time! The Marquee Folio Pitch Deck


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     We believe more effort and investment must be put into new shows with original scores that are specifically tailored to the books they're paired with. Original stories offer the potential to break new ground, inspire fresh perspectives, and captivate theatergoers in ways that adaptations and familiar narratives may not achieve. Developing an original score is crucial for Broadway to maintain its artistic identity and offer unique musical experiences to audiences. We are looking for investors who understand our vision and want to take on Broadway in a huge way! MUTT - A New Musical Comedy The bond of friendship is put to the ultimate test, when two companions — a three-legged shelter dog and his chew toy — embark on a bizarre quest to find fame, fortune and a forever home in Hollywood. Mutt - One Sheet | Mutt Demos Recordings SEEKING INVESTMENT FOR A REGIONAL PRODUCTION RUN Upcoming/Past Productions: *Concert reading/developmental workshop September 13-15, 2024 at Arizona State University. *34th Annual National Alliance of Musical Theatre Select (New World Stages, NYC) - October 2022 *LA's First Musical Pet Adoption - The Montalbán Theatre in Hollywood, CA - September 2022  *First Public Reading - The Broadwater Theater in Hollywood - August 2021 ___   BIG DAWN - A New Musical Comedy After forty years of searching, Fate has finally shown Dawn Snuffles — a middle-aged, trash-talking, blue-collar dynamo — the way to turn her disappointing life around – a GURU!  Now, with all the grace of a bull in a china shop, she sets out to win the guru's favor and gain true Enlightenment… even if it costs a life or ten along the way.  Big Dawn Demos Recordings SEEKING INVESTMENT FOR A DEVELOPMENTAL WORKSHOP  Upcoming/Past Productions: *Public Reading - The Montalbán Theatre in Hollywood - May 19, 2024 *NYMF (New York Musical Festival) - New York City - May 2019 ___    FIFTH DATE - A New Musical Kayla, three years single and counting, is on her fifth date with Jack. Unfortunately, Jack has zero drive but double the kindness. Desperate to finally end her dating slump, Kayla wars with her internal relationship dealmakers (who take the form of a five member k-pop boy band) to find a possible compromise that could leave her lonelier than ever.  SEEKING INVESTMENT FOR A PUBLIC READING/DEVELOPMENTAL WORKSHOP Upcoming/Past Productions:


BIOS: (biographies for the members of your team)
     Marcus Terrell Smith (Producer, Book & Lyrics) graduated from the University of Arizona with a BA in Linguistics. The following year he was accepted into the Actors Studio Drama School (ASDS) at Pace University in New York City, receiving an MFA in Acting. After graduating, he joined the national tour of Broadway’s Book of Mormon. Smith then moved to Los Angeles, where he diversified his talents as an actor on TV/Film and continued his work in theater. He is also a prolific storyteller, currently writing narrative lore for League of Legends (Riot Games) and Magic: The Gathering. Robin Schäfer (Music & Arrangements) is a composer, guitarist, and music instructor based in Cologne, Germany. With over two decades of experience, Schäfer has established himself as a versatile musician, both as a solo artist and as a member of various original bands spanning different genres. With his Folk solo-project “Robin Shepherd” he has released an album, two EPs, and several singles to date. Recently he founded the instrumental Soul-Funk band "Malako Zoo” as guitarist. Furthermore, he works as a media composer as well as a session musician for musical theatre, commercial bands and local artists.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     marcus.smith@themuttmusical.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://www.TheMuttMusical.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:
     The Mirror’s Revenge

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book by Jay Hartlove, Music by Kristoph Klover and Margaret Davis, Lyrics by Jay Hartlove


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     This story is the sequel to the Grimm Brothers’ fairy tale, “Snow White and the Seven Dwarves.” It shows why the evil queen lost her mind to jealousy and tried to kill her stepdaughter Snow White. It also tells what happened after Snow was carried off by Prince Karl Charming, and how this really didn’t save her from the fate her stepmother had set in motion. The magic mirror turns out to be the actual villain. The mirror convinced the queen by subtle manipulation to kill Snow White. The mirror is in fact the spirit of the dead King Krosus, the archenemy of Snow White’s deceased father. Having failed to accomplish his revenge in the first story, Krosus is back to try again. In the same manner as Wicked and Malificent, this show is the rest of the story you think you know.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     I directed and produced this show at Bay Area Stage in Vallejo, California for a three-week run in August 2018. The music was first produced as an album with session musicians in 2016. The instrumental tracks were used to develop the musical accompaniment for the stage. The sheet music was then transcribed for the actors to sing. The sheet music has been updated with the changes my Music Director made during rehearsals. I have all the tracks needed to run the show. There are two songs I would like to modify before the show is staged again. But other than those tracks, the show is ready for a new team to run it. The show can be run with as few as ten actors, so it is scalable. Here are a couple of bonus film clips from rehearsals and shows. https://youtu.be/ibDgbNGA55E?si=ffciHLE56zBK2qg4 https://youtu.be/CqKhhTedTRc?si=C2A6S9sgpAbDYUxq


BIOS: (biographies for the members of your team)
     Jay Hartlove is the award-winning author of five fantasy novels. (https://waterdragonpublishing.com/book-author/jay-hartlove/) He was selected for "50 Authors You Should Be Reading" by The Authors Show. He wrote, produced and directed The Mirror’s Revenge, the musical sequel to Snow White. He is a former award-winning competition costumer who has won Best in Show at the World Science Fiction Convention and San Diego Comic Con.   Kristoph Klover and Margaret Davis (https://flowinglass.com) have been writing and producing music since 1993. They have produced over twenty albums of their own music as well as producing dozens of albums for other bands. They specialize in Celtic Rock fusion, which was perfect for this Snow White adaptation.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     jay.hartlove@gmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://www.jaywrites.com/blank


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:
     The Practice Room

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, music, and lyrics by Dave Bates


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     He's an aspiring songwriter, neurotic, immature, and a little weird.  She's an aspiring singer, confident, talented, and altogether lovely.  They meet one night in a dingy practice room, and, united by their mutual love of Broadway musicals, they decide to team up, only to discover that his insecurities make collaboration impossible.  The entire play is set inside the practice room, except for when their fantasies fill the stage with extravagant production numbers.


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     The Practice Room was presented as a staged reading (under a different title) at the Carrboro Arts Center, when the play was strictly a two-person musical.  Working from feedback I got from that presentation, I added or replace half a dozen songs, streamlined the plot, and added a chorus for the fantasy numbers.  I viewed these as significant improvements.  My  current concerns are length (as always), and the fact that the male lead is kind of a jerk.  But he needs to be a lovable jerk, and I don't know how well the script manages that.  I'd love to put it before an audience and get their reaction.


BIOS: (biographies for the members of your team)
     I've lived in Asheville, NC, for the past thirty years, making my living as a pianist and musical director.  Previously I lived in Ohio and taught mathematics.  I started writing music while still in high school, with a special interest in musical theatre.  My previous productions include: CONFETTI, an allegorical, farcical, political satire.  It examines issues such as government corruption, wealth inequality, propaganda, and rising fascism through a silly plot revolving around our right to throw confetti.  Produced by SART (Southern Appalachian Repertory Theatre) June, 1989. APPLES, a musical retelling of the Johnny Appleseed legend.  Spanning fifty years, this is less a historically accurate biography and more a meditation on the passing of time and our choices and regrets along the way.  Produced by SART, July, 1990 SCOTT AND ZELDA, a serious examination of the toxic romance between novelist F. Scott Fitzgerald and his wife Zelda.  Short synopsis:  He was alcoholic, she was schizophrenic, and they blamed each other.  Produced by Wings Theatre (now defunct), Manhattan, NY, January, 2000. KANZAN AND JITTOKO, a "Zen" musical about the two "lovable lunatics" of Zen Buddhist legend.  The plot shows how their simple lives are turn upside down when one of them inherits a priceless artwork from an old friend.  Produced at The Asheville School, a private college prep high school in Asheville, October, 2005. BIRDS OF A FEATHER, a musical adaptation of the classic Greek comedy The Birds by Aristophanes.  I was commissioned to write music for the Greek chorus for a college production, which was produced by TheatreUNCA, Asheville, NC.  After that production was finished, I decided to turn it into a full-fledged musical. STONEWALL, a work of fiction that imagines what might have gone inside the Stonewall Inn during the hours before the infamous Stonewall Riot on June 27, 1969.  The play is intended to paint a picture of gay life in the United States before the changes brought by the gay rights movement.  Workshop production with Aaron Grant Theatrical, Manhattan, NY, October, 2017. SEVEN SINGERS SINGING, a musical revue featuring over thirty songs, ranging from ballads and torch songs to comedy numbers and inspirational songs, including solos, duets, trios, and ensemble numbers.  With minimal production demands and flexible casting, this show is very easy to produce.  Self-produced in Asheville, NC, February 2020. Many of my songs can be heard on my  YouTube channel.  Look for Dave Bates Music, then click on my blue spirograph logo.    


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     davebatesmusic@gmail.com


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:
     TV, the Musical

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book by Tracy Swedlow, Music by Ryan McQuinn


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

SHORT OVERVIEW

The bitter battle between two men from different worlds who fight each other for the right to be called "The Father of Electronic Television" no matter what it costs them. What they do changes the world forever.

PARAGRAPH OVERVIEW

As the curtain rises on "TV, The Musical," the audience experiences the bustling entrance of the 1939 New York World's Fair in a rousing opening number called "The World of Tomorrow." Everybody who is there feels excited about a world on the brink of revolution. In a display of spectacle and power in front of the RCA Pavillion, David Sarnoff, the General of RCA, takes center stage, his voice ringing out with pride and optimism as he proclaims the dawn of the new era of broadcasting (i.e.) the commercial availability of television. In this moment of triumph tinged with the promise of a brighter future, all of this is shadowed by the looming specter of impending conflict in Europe for World War 2.

Philo T. Farnsworth, the genius inventor of television stands somewhere watchful in front of the lone TV store window in Manhattan where he sees Sarnoff's pronouncement. As Sarnoff makes his proclamation and yet does not mention Philo's name (the inventor of TV), Philo's world comes crashing down around him. The weight of this real achievement, coupled with the harsh reality of ruthless competition, proves too much to bear for him. In a terrible moment of collapse, he falls to the sidewalk, a lone figure amidst the bustling crowd, his anguish hidden from view.

As musical unfolds, we go back to the beginning, exploring the origin stories of these titans of industry, their paths converging in a relentless pursuit of glory. From humble beginnings to soaring heights, each man grapples with the overwhelming pressure to claim the coveted title of "The Father of Television." Yet beneath the veneer of success lies a darker truth: a world of secrets, manipulation, and the insidious grip of corporate power.

Against this backdrop of ambition and intrigue, we witness the toll exacted by their relentless pursuit of greatness through invention and business. Health falters, relationships fracture, yet the indomitable spirit of determination and love shines through. In the end, for Pem and Philo who have gone through various tragedies such as the loss of their son, it is the journey to the moon all viewed on television by the entire world that becomes a symbol of hope, a testament to the resilience of the human spirit in the face of insurmountable odds and a reminder of the power of belief in oneself and the enduring legacy of those who dare to dream.




HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     Growing up in a small town like Columbus, Ohio, where quirky kids weren’t particularly fashionable, TV was my escape into a larger world I could turn on and off: lucky for me, it also came with a proscenium arch all its own. On TV, I discovered films and musicals on film and then soon found my parents’ Broadway cast albums, which I sang incessantly. Television was my gateway drug to theater, to acting, to becoming a writer, producer and director. Because of all this, I love theater, film and TV. A while ago, I had the honor of interviewing Pem Farnsworth (when she was 96 years old), the wife of the inventor of TV (Philo T. Farnsworth), at the Emmy Awards. When I told her how much I loved her story and how I wanted to make a musical out of it, she told me I was meant to do it - she could tell - she could feel it. I've never forgotten this moment. - Tracy Swedlow Development to Date
  • The book has been written, but can be tightened
  • Production concept has been developed
  • We've composed 3 songs
  • Much effort has been made to inform executives in the TV industry that this is in development to "seed the market" for the right time when we ask for their support/investment



BIOS: (biographies for the members of your team)
     RYAN  MCQUINN - COMPOSER

I've written music since I was a child. Inspired by my mother, I would stay up past my bed time in her office writing music with her software. Since then, I've been fortunate to write for several audio dramas and video games with clients in the U.S, Germany, Portugal, Malaysia, and Russia. My work has been premiered by Orlando Contemporary Orchestra and Alterity Chamber Orchestra It has been nominated for and won several awards.

I find expressing myself through music is more fulfilling than doing so through spoken language, and have always been told I should be writing for musicals. Since I have started down this path, I’ve enjoyed the people I have met, the new challenges to learn from and overcome, and the opportunity to offer my taste and style to the community.

TRACY SWEDLOW - BOOKWRITER, LYRICIST, CONCEIVING PRODUCER I am the CEO, publisher, and editor-in-chief of InteractiveTV Today (ITVT) (https://itvt.com), which I founded in 1998, and am also the co-executive producer and director of the TV of Tomorrow Show conferences (https://itvt.com/tvot) that occur in San Francisco and New York City or as livestreaming events. Our ITVT email newsletter and Web site are read by thousands of high-level TV multiplatform-focused executives around the world. I interview these executives and creatives via video interviews called “Televisionation” (https://itvt.com/televisionation). SELECTED THEATER EXPERIENCE
  • Currently: Participate in many Theater Resources Unlimited (TRU) musical events and producer Master Class webinars
  • Early 2008: Produced, directed and re-wrote an episode of the “Twilight Zone” called "The Obsolete Man" at the Dark Room in San Francisco.
  • August 2005: Produced, wrote and directed a politically-charged multimedia "Blogtheater" (my term) piece that focused on post-election America called "Fuck That!: The Political Science Show."
  • Mid-1990’s: Worked with the stage manager during various George Coates’ productions in San Francisco. George is a famous empresario in San Francisco who mixed live theater with 2D and 3D projections on stage and was funded by Silicon Valley.
  • 1992-1994: Conceived, produced, directed the first 3 Burning Man fashion shows (as interactive theater) on the Black Rock Desert.
  • 1988-1989: Participated in the Director/Playwright Workshop at Playwright's Horizons in New York City with founder, Bob Moss.
  • 1987-1988: Worked within stage management at the WPA Theater in NYC when Israel Horovitz was doing “North Shore Fish.”
My education includes a Ph.D fellowship in Directing (Theater) at the University of California, Berkeley studying with Tony Taccone; a Masters degree in Dramatic Criticism from Northwestern University; a certificate in French and French Literature from the Université de Cannes; a Bachelor of Arts degree in Theater History from Tulane University; studies in Drama at the Royal Holloway College at the University of London; as well as a high school degree from Culver Military Academy in Indiana.


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     tracyswedlow@gmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     https://tv-the-musical.com OR https://decagon-chimes-x9b3.squarespace.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:
     UNZIPPED

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Story by Eva Margolies, Book, Lyrics and Music by Eva Margolies and Douglas J. Cohen.


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

UNZIPPED is a new musical dramedy that sensitively and humorously deals with a sexually troubled marriage and our deep need for physical intimacy.  It is set in the Bay Area in the late 1970s during the height of the sexual and sex therapy revolution. It is written for a multicultural, multigenerational, and sexually diverse cast of ten. While there is no nudity and all sexual interaction is expressed in theatrical terms, the subject matter is intended for adult audiences. The score to Unzipped is contemporary musical theater with a tuneful, quirky vibe – think Falsettos meets The Prom, while the thematic tone is closer to Sweet Charity intermingled with Next to Normal. 




HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     We have had one table reading during COVID and a second in-person table reading in October attended by director Hersh Ellis.  Based on the feedback, we did a considerable amount of re-writing after which we received the following endorsement from Dr. Drew Pinsky:

“Unzipped is an original, wild, and courageous musical that brings to life our need for intimate physical connection and vividly captures the controversial era of the sex therapy revolution…a provocative and entertaining story of a challenging subject.”

Our desired next steps include a staged reading and a fully staged production.


BIOS: (biographies for the members of your team)
     

Eva Margolies (Creator, co-librettist, lyricist, composer), is an award-winning songwriter and was a practicing certified sex therapist and Diplomat of Sex Therapy for over thirty years. She has authored seven books including: Undressing the American Male: Men with Sexual Problems and How Women Can Help Them, (Doubleday/Penguin), The Best of Friends the Worst of Enemies: Women’s Hidden Power over Women, (The Dial Press) and Sensual Pleasure: A Woman’s Guide (Avon Press.) She has appeared five times on The Oprah Winfrey Show, was featured on 20/20 and Good Morning America, and has been quoted in major publications including Good Housekeeping, Cosmopolitan, Men’s Health, and People Magazine.

Eva was a staff writer for MCA Music and won first prize for Best Pop Song, “Butterfly,” in the 2015 Songdoor International Songwriting Competition, (co-writers Julian Cassia, and Andres Quintero). She was also a finalist in the 2014 and 2015 USA Songwriting Competition and the 2012 John Lennon Songwriting Competition. She has had numerous artist recordings, and some of her songs have been licensed for radio and television.

 Douglas J. Cohen (Co-librettist/composer/lyricist) is the recipient of two Richard Rodgers Awards (No Way to Treat a Lady, The Gig), a Jonathan Larson Grant (Barnstormer written with Cheryl L. Davis), a Drama Desk nomination (Children’s Letters to God), a Drama League nomination (Don’t Stay Safe with collaborator Cheryl L. Davis), and the Fred Ebb Award for his body of work. (Two of his musicals, Glimmerglass and Bridges, were also Finalists for the Richard Rodgers Award).

Doug has been produced at Off-Broadway’s Manhattan Theatre Club, The York Theatre Company, and The Cell Theatre, and regionally at Williamstown Theater Festival, Signature Theater, Barrington Stage, The Magic Theater, Goodspeed Opera House, and the Berkeley Playhouse. Doug is a three-time Festival writer in the National Alliance of Musical Theatre Festival of New Musicals (The Gig, Glimmerglass, and Barnstormer.) Doug’s first non-fiction book, How to Survive a Killer Musical, was published by Applause Books on September 1st. His musical, The Big Time, was released on Concord Records starring Santino Fontana, Debbie Gravitte, Jackie Hoffman, and Will Swenson.




CONTACT EMAIL: (the email a producer should use to contact you about your musical
     happyeva03@aol.com


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)
     https://drive.google.com/file/d/1qQvMR5Pzn7WkR-5VVFxonDc0zN9-vs4V/view?usp=sharing

EDIT YOUR MUSICAL

NOTE: To view how this page will appear to the producers, CLICK HERE






YOUR LOGO:


TITLE OF YOUR MUSICAL:
     Who’s Got Me?

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, Lyrics and Music by Jeffrey Scharf


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

Who doesn't like tap dancing?

“Who’s Got Me?” is a 1930's style show-in-a-show musical.  Bouncing between Peoria and New York City in 1938, the story centers on a family of small-town cabaret performers who attract the attention of a big-time Broadway producer with their musical comedy about a family of small-town cabaret performers who attract the attention of a big-time Broadway producer.  Sparks fly when the producer surprises the family by casting his untested daughter as the female lead.  As in "Kiss Me, Kate," the lives of the real-life actors intersect with the problems of their on-stage characters.  Complications ensue and misunderstandings multiply jeopardizing the production as the clock ticks down to opening night.

"Who's Got Me?" is coming off a sensational World Premiere production in December.  It played to sell-out houses and standing ovations with some audience members coming more than once.  It received rave reviews.  One review captured the essence of the show's appeal and what I hoped to achieve.  “If you’re looking for an entertaining respite from the chaotic and tragic news cycle, “Who’s Got Me?” is an engaging and romantic romp full of wonderful songs and enchanting dance numbers."

Looking for additional regional theater, campus or four-wall productions/co-productions or producers/co-producers to the move the show forward with the ultimate goal of Broadway.  Enhancement/production funding is available.

For those looking for shows in an earlier stage of development, please visit the "For a Moment in Time" tab on my website.




HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     

PRODUCTION​ HISTORY

World Premiere Production, Jewel Theatre Company December 6-23, 2023 at the Colligan Theater in Santa Cruz

Staged Reading, August 2019 as Mountain Community Theater's choice for its New Work Weekend

Excerpted at Musical Cafe's Fall 2016 Showcase, November 12-14 at The Piano Fight in San Francisco, CA.




BIOS: (biographies for the members of your team)
     

Jeffrey Scharf is a playwright, bookwriter, lyricist, songwriter and screenwriter.  His newest show "Who's Got Me?" was produced by Jewel Theatre Company at the Colligan Theater in Santa Cruz, CA in December 2023. Other produced musicals include “David Copperfield, The New Musical” which had a sold-out run at the Colligan and “Reunions” (music by Jimmy Calire) produced in Ojai, CA.  His holiday show “The Three Tales (Gifts) of Christmas” was commissioned and produced by the Elite Theatre Company.  "For a Moment in Time" (music by Glenn Richard Treibitz) had a well-received stage reading at the Garry Marshall Theater in Burbank in 2023.  His “Banana Slugs Fight Song” is heard in the movie “The Baxter.”  Other works include book and lyrics for “Houdini Among the Spirits, the movie script “The Best Laugh” and the ten-minute plays “Postcards from the Ledge” and “M-Urgency Room.”

He is a co-writer of “Life in the Slow Lane” recorded by Roberta Donnay and “I Don’t Want to Know” recorded by Spencer Day.  Non-theatrical writings include a long-running career as newspaper columnist for the Santa Cruz Sentinel.

Jeffrey is a member of the Dramatists Guild and NMI.




CONTACT EMAIL: (the email a producer should use to contact you about your musical
     jscharf_music@msn.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     www.jeffreyscharftheatrical.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:
     Wild Man of the Wynoochee

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book by Jessica Welsh, Music by Linda Dowdell, Lyrics by Jessica Welsh and Linda Dowdell


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     

It’s SWEENEY TODD meets Sasquatch: step into the wild world of this thrilling new musical!

LOGLINE: In the wilds of turn-of-the-20th century Pacific Northwest, a nature-loving hermit accused of the murder of his nephew fights for his way of life and the safety of his loved ones after finding himself the target of a sensational manhunt. (Inspired by true events surrounding the real life Wild Man, John Tornow).

CAST SIZE: 6 actors (4 male/2 female) playing 14 roles (expanded version for bigger cast in progress)

SETS: 4 locations (production with unit set possible)

RUN TIME: approximately 2 hours; 2 acts

MUSIC: elements of folk, rock; HADESTOWN meets FLOYD COLLINS




HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     HISTORY: In May and October 2023, we had developmental readings with Equity Actors at Key City Public Theatre in Port Townsend, Washington (located on the Olympic Peninsula, where the events of the story take place). We have a final reading at KCPT in May 2024 and the full production in October 2024. FUTURE PLANS:  We are looking to make connections and seek out opportunities to build a future runway for the project.


BIOS: (biographies for the members of your team)
     JESSICA WELSH (book, lyrics) - is a UK-raised, LA-based writer for film, television and the stage. She has written projects for most major studios, including 30+ episodes of TV. Most recently she was a staff writer on the Peabody-winning/ Emmy-nominated series STILLWATER for Apple TV+. Her feature screenplay SHANIA! was selected for the 2021 Black List of “most liked” un-produced scripts in Hollywood and is currently set up at Sony. She graduated Phi Beta Kappa from Princeton University as an English major/Film minor and holds a certificate in Lyric Writing from Berklee College of Music, where she received the Matt Marvuglio Scholarship awarded to promising certificate students. She is a member of the Writer’s Guild, Animation Guild, Dramatists Guild and BMI Musical Theatre Workshop. Jessica-Welsh.com | IMDB: imdb.com/name/nm8973363/ LINDA DOWDELL (music, lyrics) - With roots in both jazz and classical music, Linda Dowdell toured the world from 1988-98 as musical director of Mikhail Baryshnikov’s White Oak Dance Project as well as the Mark Morris Dance Group. She is the composer/lyricist of the award-winning musical SPIRIT OF THE YULE, a retelling of Dickens’ A Christmas Carol, set in the Pacific Northwest. Additional awards include Meet the Composer, ArtsWA, the James Irvine Foundation, and BMI’s Harrington Award. Bandleader of Friends of Brubeck, a jazz quartet. Performances with Port Angeles Symphony Orchestra, commissions from Northwest Women’s Chorale. Her music has been described as “an eclectic vein of high jazz; she plants words with exceptional clarity and to great effect” (Financial Times); “...elegant, free-wheeling, economical” (The Sunday Times, London); “...an unflagging, unflinching, buoyant sense of rhythm” (Boston Globe). Currently musical director at Key City Public Theatre in Port Townsend, WA.  


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     wildwynoocheeshow@gmail.com


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)
     https://drive.google.com/file/d/1757xOjciPssVUgTSSDw2OCPLll_Zs1ph/view?usp=drive_link

EDIT YOUR MUSICAL

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YOUR LOGO:


TITLE OF YOUR MUSICAL:
     Wounded in Action: the journey home

CREDITS (i.e. Book by Jane Writer, Music by Joe Piano, Lyrics by Amy Poet):
     Book, music and lyrics by Kevin Jeffers


PITCH: (a paragraph that gives a summary of your musical - to whet the producers' appetites!)
     Reeve Cane, a decorated, third tour Marine is the sole survivor of a suicide attack while his unit was on patrol in Afghanistan.  Suffering the debilitating effect of PTSD, Reeve has returned stateside only to become mired in the bureaucratic nightmare of the VA. Reeve struggles between returning to war avenging his fallen brothers AND keeping the promise made to his dying friend—the promise to heal his war wounds and find a way live a life full enough for them both. Wounded in action begins in a forward operating base in Afghanistan, takes us state-side to Walter Reed, to the homeless streets of DC, to a Veterans halfway house and finally to the steps of the U.S. Capital.      Wounded in Action: the journey home looks to honor the service and sacrifice of each Veteran by bearing witness to the plight of Veterans as they grapple with the demons of war AND to offer the Civilian Community the opportunity to understand their world, the opportunity to become part of their healing—and just maybe become part of their journey home. Musical Numbers for: WOUNDED IN ACTION: the journey home ACT ONE 1.  Swear                               Ensemble 2. Dying to...                       Troops/Families (ensemble) 3. Going On.                        Reeve 4. Battle Prayer.                 Chaps, Dagar, Unit, Muslims (ensemble) 5. Empty Chair.                  PT Patients and Families 6. No More.                         Benesh and Reeve 7. Take Away                      Young Oz and Gene 8. Rehabilitation               Cookie and Vets 9. U.S. is Mine!                 Cane 10. No man left behind.   Oz and Gene 11. American Haka.           Reeve and Vets 12. Back in the World.       Reeve, Preacher, Tang, Cookie and Vets 13. Use a Man.                     Cane and Reeve 14. Line in the Sand.          Preacher Tang Cookie, Reeve and Vets ACT TWO 15. Status Quo                      Tang and Vets 16. Bullet Proof                    Preacher and Vets 17. Comes a time.                Gene 18. Feel Again.                      Oz 19. Home.                              Gene and Oz 20. As you were.                   Benesh (with Reeve) 21. Use Me                             Reeve and Cane (with Vets) 22. Wounded in Action.      Reeve, Gene, Hana (with Vets) 23. Feel Again/Home          (reprise) 24.Heart Beats.                     Preacher, Tang, Cookie and Vets 25. Stand with Me                Reeve and ensemble


HISTORY/NOTES: (a spot to talk about what level of development you have reached, and/or what you are looking for next)
     I was moved to begin this project around 2014 when the VA scandals rocked the headlines.  Already over 10 years into war, Veterans were returning and having to wait (in some cases) over a year just to be seen by government run facilities and when they did the resources were abysmal.  Now with one Veteran suicide every hour or every day or every month there is an extreme need to provide Veteran’s with the mental health and reintegration resources not yet available. Shortly after beginning the book, I came in contact with “Vets Journey Home” and volunteered to staff.  During that weekend retreat I bore witness to Veterans from the Vietnam era through recently returned from Afghanistan and Iraq with invisible scars and wounds derived from their experiences in time of war.  All of whom seemed to have a simple desire;  ‘to leave war behind and to be accepted back into the society they went to war to preserve. There is a need to start a long overdue dialog between the civilian and veteran communities and I hope to be a part of it. On March 11 2020, the cast was in place to record a nearly complete piano/vocal demo Wounded in Action.  On that day I began rehearsing the principals on solo and duet material. It was less than a week later when Covid abruptly and completely shut the city and nation down. And while that portion of the process was suspended, the next 18 months gave me pause to reconsider and reconstruct the show's book.  Through a mutual friend I was fortunate enough to meet and begin working with Ken Cerniglia.  With Ken's insight and thoughtfulness I transformed the book into a more dynamic and dramatic expression of my vision.  Though not officially the dramaturg of the project, Ken has generously consented to  remain a part of my team. During Covid, my family and I have moved away from NYC (my stomping grounds for nearly 25 years) and as such I have, as yet, been unable to organize a demo recording of the show.  As I have in past demos, I am working with Joe Baker and am optimistic we will succeed in having part of the show recorded.  Absent the demo, I have orchestrated and entire show (Covid left me with ample free time) and while the lack of voices leaves the experience wanting more, the orchestrations do provide a sense of where the music can be taken.  I am optimistic that we will begin a partial demo in June of 2024 with Joe Baker in NYC.


BIOS: (biographies for the members of your team)
     Kevin Jeffers graduated Northwestern University with a Masters of Music degree in the Voice Performance and Opera.  Graduated University of Wisconsin-Madison with a doctorate in Voice Performance. He has performed in over 25 major roles in opera and musical theatre, performed as soloist in numerous orchestral and oratorio concerts, performed over 20 solo recitals around the United States, featured in numerous developmental and premiere works.  As well, Kevin has acted as musical and stage director for numerous projects. He began composing vocal music at age 14 and had a number of poems published before the age of 19.  Trained in composition while at Heidelberg College and Northwestern University. Was selected as a contributing composer/lyricist to BMI’s two-year Music Theatre workshop. Currently a member of ASCAP and the Dramatists Guild. Composed over 200 art songs (primarily on English language texts), numerous small choral works; a SATB solo a cappella Latin Mass; a large choral work for 12 part divisi SATB chorus, soprano obbligato and baritone solo entitled “OF MUSIC” based on a text by Kahlil Gibran; an orchestrated and partially recorded version of a complete “REQUIEM MASS” for orchestra, SATB chorus, SATB solo quartet, and baritone soloist, are among my other works. Contributed to numerous cabaret performances premiering in New York City and songs as incidental music for known plays.  Theatre compositions include: "Life Cycle" for voice and piano (a monodrama; original book, music and lyric); "The Starry Messenger"  (based on the life of Galileo: original music, book and lyric), “ "If it happens in the song..."(original book, music and lyric). “ALMOST LOVE; an elegy for a lady” is the musicalization of an Arthur Miller’s one-act play' "An Elegy for a Lady".  The intimate and sensual drama revolves around a man's search for the perfect gift to give his dying mistress and his unexpected connection with the woman who guides him in his quest.  Two principles with three support roles.  Music, book and lyrics by Kevin Jeffers based on Arthur Miller's "An Elegy for a Lady".  Permission and rights secured.  Demo available.   “SPOON RIVER: a musical anthology” is the musicalization of Edgar Lee Masters’ ground-breaking classic by the same name.  Set within the backdrop of the looming Civil War, the people of Spoon River Illinois are each given a single moment to share the truth of their life before retiring beneath the Hill.  Original version produced Off-Broadway at Gallery Players.  Ensemble cast with 16-24 featured roles (requires doubling).  Music, book and lyrics by Kevin Jeffers based on Edgar Lee Masters' "Spoon River Anthology". Demo Available.   “SALVATION” is the musicalization of four one-act plays from Joe Pintauro’s “Metropolitan Operas” (“Rex, “Rules of Love”, “Bird of Ill Omen (adapted)” and “Birds in Church”.  Premiered at Lichtenstein Theatre in Parrish Art Museum Sag Harbor, NY.  Seven principle roles.  Music, lyrics and book by Kevin Jeffers based on plays and conversations with Joe Pintauro. Video of premiere available.    “CAUGHT IN THE NET” in the early days of the internet (before you could google the life history of most humans) one New York man believed he might find his sole mate if he just believed.  This is my true story (almost) of that longing and discovery.  Two principles and four featured roles. Demo Available.    Current project: “WOUNDED IN ACTION: the journey home” .  Music, book and lyrics by Kevin Jeffers.   Orchestrated tracks available.  Demo pending (May/June 2024)   To hear samples of the above musicals:                                                                                 GotSong.com    


CONTACT EMAIL: (the email a producer should use to contact you about your musical
     wiathejourneyhome@gmail.com


WEBSITE: (if you or your musical already have a website, include the full web address here)
     GotSong.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