Theatres and Theatre Companies
Where New Musicals are Welcome
Here's a few examples. For more see Dramatists Source Book and issues of our Musical Writerzine.
The York Theatre - New York City
Yorktheatre.org from their history: The York Theatre Company is the only theatre in New York City - and one of very few in the world - dedicated to developing and fully producing new musicals and preserving neglected, notable shows from the past. For over three decades, York's intimate, imaginative style of producing both new and neglected classic musicals has resulted in critical acclaim, multiple awards and nominations, and acclamation from artists and audiences alike.
Manhattan Theatre Club - New York City
MTC-NYC.org ...Manhattan Theatre Club has grown in three decades from a prolific Off-Off Broadway showcase into one of the country's most acclaimed theatre organizations. One of the only institutions in the U.S. solely dedicated to producing new plays and musicals, MTC develops and presents works of the highest quality by both established and emerging American and international playwrights.
Theatreworks - San Francisco Bay area
Theatreworks ...TheatreWorks deepens its commitment to the creation and development of new works with the New Works Initiative. Broadly defined, this program includes traditional and non-traditional musicals, plays with music, and plays with soundscapes. The program encompasses staged readings, workshops, special events, and main stage world premieres.
North Shore Music Theatre - Boston area
NSMT.org The award-winning, year-round North Shore Music Theatre is creating some of the most vibrant classic, contemporary and new musical theater in the country.... NSMT knows the creative energy that attracts artists, audiences and staff to our musical theater can only be attained by encouraging and seriously supporting the commissioning and development of new musicals for tomorrow's audience. NSMT partners with other nationally-recognized theaters and new works initiatives throughout the country to discover and develop the talents of new composers, lyricists and playwrights....Over the past 21 years, NSMT has been a catalyst in the development of 38 new musicals, and produced 23 regional, national and world premieres. NSMT is a founding member of the increasingly influential National Alliance for Musical Theater (NAMT) and works with the Boston-based New Opera and Musical Theater Initiative.
Your Local Theatre
Sometimes local theatres will enjoy working with local talent (you). For tips, check the comments on: Musicals101's - How to put on a musical
Guidebooks
Dramatists Sourcebook 24th Edition (Dramatists Sourcebook) This book is essential for for writers who want to get their work produced. Now in its 24th edition, Dramatists Sourcebook-the best-selling guide for opportunities
for stage writers-is completely revised, with more than 900 opportunities for
playwrights, translators, composers, lyricists and librettists, as well as opportunities
for screen, radio and television writers. In an easy-to-use format, the Sourcebook
details script-submission procedures for more than 350 theatres seeking new plays;
more than 150 prizes and sections on submission guidelines, fellowships and grants,
organizations, script preparation, agents, colonies and residencies, workshops,
publishing opportunities and a submission calendar. Thoroughly indexed, with an
invaluable calendar of submission deadlines, this is an indispensable reference
work for any playwright.
Dramatist Guild Resource Director - Writer's Guide to the Theatrical Marketplace.
For more see Dramatists Source Book and issues of our Musical Writerzine.
Suggestions/comments
Stephen Schwartz answers a question from a British writer about getting a show mounted: I don't know exactly how it works in London, but what one would try to do here in the States is invite as many potential producers and backers as possible to a reading.
Would it be possible to reassemble the cast who did your first well-received workshop for a day or so for such a purpose? If that's not possible, you could send the script and a CD of selections from the score to potential producers or agents, though sending unsolicited material is I admit a bit of a longshot.
I think it's mostly a matter of trying to get your work heard and seen in any way you can think of; if it's good, people will begin to get excited about it, and through the mysterious alchemy of networking, something may come of that. This is sort of what happened for me with my first show, PIPPIN, which I dragged around New York with me, playing it for anyone wno would listen, when I first got out of university. Above all, persevere!
To send suggestions, comments, or questions write to comments@musicalwriters.com