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15 minute musical ADMIN page

15MM Bible

Below is the current text for the 15MM Bible.  The info gets updated through EVENTS; and the text gets updated through the VIEW.



February 1, 2021

A Heads-Up about the 15 Minute Musicals


Dear Writers:

You are about to embark upon the 15 Minute Musical process. Writing these shows is a very intense but very exciting experience and we hope we can all have a great time conceiving, rehearsing, and performing the wonderful shows you’re about to create.

Here is an overview of the process and schedule you should expect. Look over in particular the dates marked “Required of all collaborators”, because you really need to be at those sessions - either in person in the room or, if absolutely necessary, by streamcasting. But if you live locally, but still feel you must participate via streamcast, you must let your collaborators and us know in advance, and provide us a legitimate financial or medical necessity. We are prepared to be as unforgiving and obstinate as we need to be to get you to join us live, in the room, for these sessions.

Please consider this letter to be your 15 MINUTE MUSICAL BIBLE. Make several copies of it: post one on your fridge, slip one under your pillow, have one transferred onto a t-shirt. You will want to refer back to this often during the 15 Minute Musical process. If you have questions along the way – check here first: the answer is probably here. There’s no reason for any part of this process to take you by surprise – it’s all here. It is a lot of information – you WILL forget some of it. Check back often to remind yourself of your deadlines, and of our expectations.

Essentially, the 15 Minute Musicals are in four stages: 1) assembling the collaborative teams; 2) setting the parameters you will use for writing your shows; 3) writing and assessing two drafts and a final script; 4) rehearsing and performing.

Step 1: Assembling the Collaborative Teams

About a month prior to the launch, we’ll collect from you any preferences you might have about people with whom you do and do not wish to collaborate; and don’t worry, your requests are completely confidential. We will first and foremost try to honor your choices about people you don’t want to work with. Then after that, we will try to honor everyone’s first or second choices for collaborators. Remember that in order to be considered in any of the three disciplines, you need to have completed all the Core assignments for that discipline, as well as received a “pass” from the lab instructor in the appropriate Lab.

Collaborative teams will not be announced prior to the official launch of the 15 Minute Musicals on Sat, Apr 3. This is to ensure against teams getting together and pre-conceiving of ideas for their musical. The whole premise underlying the 15 Minute Musical process is that you conceive and write these pieces as a team. The process begins with the creative impulse which your team receives as you begin to deal with the parameters together, not before.

All writers will be working with the same over-arching theme which will loosely tie all the musicals together. The theme will be general, like “money” or “last chances”. There will also be a few other parameters placed on each work which will be explained on the day of the launch.

These 15 Minute Musicals will be no longer than 15 minutes. We are very strict about this length.

Step 2: Setting the Parameters

We’ll begin the process with the “launch” on Sat, Apr 3 (at 12:00 pm SHARP: DO NOT BE LATE - we WILL start without you) by announcing who is on which collaborative team. You will also be asked to sign a Collaborative Agreement which will clarify ownership of the work you are about to create. If we have more than five writing teams, we will likely be splitting those teams into two PROGRAMS (Red and Blue) of three or more writing teams per Program.

Next, we will inform you of the basic cast parameters for all the musicals. All writing teams will be working with the same number of actors, and we will be clear about the general vocal ranges you should be writing for. Later in the process, when we actually cast the performers, we will need to be able to use the same group of actors for all of the 15 Minute Musicals in a particular Program, so you must adhere strictly to the cast size and vocal ranges that have been pre-determined.

NOTE: You will be required to write a 15 Minute Musical which features EACH member of your cast. There will be no "small" parts or "walk-ons" in your musical. That doesn't necessarily mean that every person in your cast needs a whole solo - but every performer must have their own moment to shine musically.

We will still have a little more work to do before you can begin brainstorming about your musical. You’ll need to know what theme all the 15 Minute Musicals will have in common, and we will be providing you with some parameters/catalysts to incorporate into your creative process.

Some time around 6:00 PM (or earlier, if we can manage it), you’ll have your collaborators, cast, creative parameters/catalysts; and you can begin to create your musical! You’ll probably want to meet with your collaborators for dinner/coffee beginning right away, because your first deadline is 10:00 pm on Mon, Apr 5 -- a little more than 48 hours away.

Step 3 - Writing and Assessing Drafts

The bookwriter of each team must submit an outline of your musical no later than 10:00 pm on Mon, Apr 5; it should be uploaded to your team directory on the 15MM Homepage on the NMI website AND emailed to admin@nmi.org AND emailed to your collaborators. Your outline MUST follow the standard format for an outline that has been used all year long. (You can find the “Instructions for Creating an Outline” document among the documents handed out at the Launch.)

The NMI dramaturge assigned to your musical will get back to you either via email or phone no later than noon on the Wednesday following your outline deadline, giving you either a greenlight or a request for a revised outline, or possibly a request for a new outline or idea. YOU MUST RECEIVE A GREENLIGHT ON YOUR OUTLINE IN ORDER TO BEGIN WRITING. Remember that stories are about people who want things (beginning), what they do to get what they want (middle) and whether they get it or not (end).

A gentle word of warning: please do not be surprised if your outline requires four or five or even six revisions before it receives a green light. We are well aware that the longer it takes to receive a green light, the less time the lyricist and composer have before their deadlines. However, experience has shown us that without a rock solid outline, the entire rest of the process is on shaky ground. As maddening as it is not to receive a green light, please trust the process.

NOTE: Once you have received a green light and your team progresses to the next steps, please bear in mind that it is your mission to ACCOMPLISH THE OUTLINE. At this point in the process, we have found that it is NOT useful for you to become "inspired" and to deviate from the outline because you feel you have a better idea for how to realize your 15 minute musical. If you start deviating from your outline, you run the risk of following your inspiration and winding up with a new idea that, although potentially promising, is structurally unrealized and this will ultimately slow down your process. If you feel your inspiration is so great that you simply cannot accomplish the green-lit outline - then write a new outline and submit it for green light before you proceed. More likely, the better advice would be to make a note of your inspiration, and save it for your next draft, and keep focused on your goal at this moment which is to ACCOMPLISH YOUR OUTLINE.

The Rough Draft of the Book:  A rough draft of the BOOK ONLY is due by 10:00 pm on Mon, Apr 12. The bookwriter will upload this draft to the website, and will also email a copy to admin@nmi.org, and to the lyricist and composer. The team will then collaborate on a proposed Song List which will be uploaded (and emailed) by 10:00 pm on Thu, Apr 15. NOTE: The Rough Draft and Song List do NOT require a green light, and will NOT receive feedback. These deadlines are a progress check-point to make sure your team is on schedule.

Your own team’s internal deadlines: We urge your team to have a frank discussion about your own deadlines, including when the lyricist and composer will provide each other with the first two or three songs. We don’t want to dictate that you write music first or lyrics first, and perhaps you’d prefer a combination. The important thing here is to ensure that no one on the team is waiting until the last second in order to begin creating. It’s up to you to figure out how to ensure that. We suggest, in the interests of time, that the composer writes music first for some of the songs, and the lyricist writes lyrics first for the rest, just so everyone can be writing as soon as possible...but that's a suggestion, and you're welcome to do whatever works best for your team.

Your team’s collaborative process: You will be required to sign a Collaboration Agreement before you can begin any work on your 15 Minute Musical. The purpose of this document is to define the function of each member of the team (bookwriter, lyricist, composer, or some combination). Please know that we expect you to take the division of these functions extremely seriously. You are certainly encouraged to have as much input as you want into the other areas on your project: if you are bookwriter, you should feel free to offer suggestions for song spotting; if you are a composer, you should feel free to suggest a particular line of dialogue; if you are a lyricist, you should feel free to argue strongly for a melodic or style choice. But remember this: the ultimate decision belongs to the person who has been designated to the function. The bookwriter has the final word on dialogue. The lyricist has the final word on lyrics. The composer has the final word on the music. Offer suggestions, request changes, argue your case as strongly as you can. But know that you have the final word only in your own arena. Also – do not offer suggestions if you are later going to desire credit for them. In this project, the bookwriter owns the book, the lyricist owns the lyrics and the composer owns the music, regardless of who actually contributed what.

Even more importantly: never, read NEVER, take it upon yourself to make a written change outside of your function.

Bookwriters: NEVER revise lyrics or music to suit your book. If you are responsible for incorporating lyrics into your document, make absolutely sure you have accurately reflected the lyricist’s choices. If you have been asked to supply new dialogue to be spoken during a song, make sure you respond quickly and collaboratively. Feel free to make suggestions for alterations, but do not make those alterations yourself and ask for permission later. Don’t do it. It is disrespectful.

Composers: NEVER revise the lyrics or dialogue to suit your music. If you have a suggestion or a request for a change – make the suggestion in person or by email, but do not type it into your score and THEN ask for permission. If you can’t set what you’ve been given – type “la la la” into your score, and ask the lyricist to provide replacement lyrics. Don’t type in alternate lyrics and tell your lyricist they are just placeholders. Don’t do it. It is disrespectful.

Lyricists: NEVER revise the music or the bookwriter's words to suit your lyric. You can let your bookwriter know you need a line of dialogue, and possibly type "(Insert dialogue about xyz)" - but do NOT write the dialogue yourself even as a placeholder. Don’t do it. It is disrespectful.

PLEASE NOTE that from this point forward, all DATES mentioned refer to the RED PROGRAM. Check the chart version of the schedule to see the BLUE PROGRAM dates (generally the day after the Red Program dates.)

ALSO NOTE that whenever the instructions below indicate that ALL COLLABORATORS are REQUIRED - it refers to all collaborators for either the RED or BLUE PROGRAM, depending on the deadline. RED PROGRAM writers are NOT required at BLUE PROGRAM deadlines, and vice versa (although they are always welcome.)

The Rough Draft of the Whole Musical: You will physically turn in the completed ROUGH FIRST DRAFT of your musical on Fri, Apr 30 at 6:00 pm. This version includes a complete script in the standard ANMT script/score format (refer to the Sample Format on the website), which includes script, lyric pages, and complete piano/vocal score. Lead sheets will not be accepted. (There will be ample opportunity in subsequent drafts to polish the piano vocal score – don’t fret.) The drafts will be evaluated between 6:00 pm and 11:00 pm – so please plan to stay for the entire session for your Program. Attendance is required of all writers.

At the Rough Draft Review session, each musical will be read (and sung) aloud by the NMI staff. (Yes – they will play all the roles, and sight-read and sight-sing through the whole thing. An event not to be missed – honest.) This review is, obviously, not about the performances, but about the clarity of the script and score. Feedback will be provided about the clarity of the manuscript itself: chord symbols, enharmonics, metronome markings, dynamics, cues, etc; and the formatting of the script/score (adhering to ANMT’s Format Guidelines) to ensure the integrated script/score is ready to go into rehearsal with the actors. There will be no artistic feedback at this session. Feedback will be limited to technical points which will allow the script and score to be playable and readable by actors and pianists. You will not be doing any rewriting at this time; just reformatting. To be clear: you are NOT to rewrite your draft between the Rough First Draft deadline and the First Draft deadline. You are to make ONLY the changes that are requested by the staff (formatting changes; or possibly key changes or changes to melodic lines if you have clearly written outside the range of your actors). If, for instance, you did not include a song in your Rough First Draft, you cannot slip it into your First Draft.

The First Draft: Your First Draft is due between 6:00 pm and 10:30 pm on Mon, May 3. For those scores/scripts we receive by 10:30 pm, we will schedule rehearsals. If your script and score are not turned in on time, we will not rehearse your project until after the next deadline (the Second Draft Submission). We really mean it – we will not accept late submissions. Just ask the teams from previous seasons. NOTE: This is a DROP-OFF deadline only: that means that as long as the submission shows up complete and on-time, we don’t care who delivers it. Your team can hire a delivery company if you like, but rest assured that even if you are not the person making the actual delivery, you are still responsible for making sure the delivery happens. NOTE: If you do arrange for a courier, call to make sure the delivery has actually been made - we have had issues with this in the past.

You must ALSO upload mp3 versions of your songs to the website so that the actors can use them for rehearsals. Those files should be uploaded to your project folder on the 15MM Homepage of the NMI website. Here are some helpful hints about mp3 rehearsal files:
- Find a STRONG instrument to assign to the vocal line so it can be clearly heard on the mp3. Reed instruments tend to work well, or a stringed instrument with an attack to it (violin). Organ or "Choral Ahh" sounds don't work well as they don't have distinct attacks.
- In general, provide TWO mp3s for each song: one with a clearly defined vocal line to follow, and one with accompaniment only.
- If you are writing a song with harmony, it helps a great deal to provide one mp3 with accompaniment only, one mp3 with all the parts together, and individual mp3s for each vocal line (that is: one mp3 for the soprano harmony line, one mp3 for the alto harmony line, etc.).

If you do not yet know how to create mp3 files from your scores, please make a point of finding out before the launch date.

A word of warning about deadlines: Don’t plan to finish writing on the afternoon of the deadline day, and meet your collaborators an hour before the deadline to start collating your submission. That is a recipe for disaster. When you are planning for your deadline, assume the worst. Assume that your printer will break down, you will get stuck in the worst traffic ever, and that your cat will die. That means you should plan to have your submission printed, collated, and ready to go by at least the day BEFORE your deadline, so all you have to do on the deadline day is make a delivery. Also: don’t turn responsibility over to one member of your team and then go away for the weekend. Make sure that your entire team is available on deadline days, so you can bail each other out when something goes wrong. (As mentioned above, we don’t care who actually delivers the draft; the whole team, one member of the team, or somebody’s Aunt Sadie: but bear in mind that if Aunt Sadie gets a flat tire and you’re not on call with a spare, your submission will be late and will not get rehearsed until the next deadline, and we'll all cut Aunt Sadie out of our wills.)

A group of sight-singers (not necessarily your final cast) will rehearse the First Drafts from Tue, May 4 through Sat, May 8. The first rehearsal is closed to writers. This is your time to relax, breathe, do your laundry, thank Aunt Sadie.

You're welcome to join us from the second rehearsal onwards. But bear in mind that your first draft will have very minimal rehearsal -- just enough so that the sight-singers can sing it and read it coherently. There will be no dramaturgy or re-writing of any kind during the rehearsal period: the intention will be to prepare to read and sing your project just exactly the way you have written it. That means typos and all, so be warned! We mean it – if your script says “Please tell me you lore me!” – then at the assessment, the actor will say “Please tell me you lore me!” If a lyric is missing, your singer will stop singing. If an accidental is missing on a note, your singer will sing the note as written – even if it is clearly wrong. This sort of thing is really, really painful to listen to – but it is the only way we have found to make the point of how important it is to make sure your submission is accurate.

First Assessment:  You’ll watch a presentation by the actors, and receive a First Assessment of your work from 2:00 pm to 11:00 pm on Sat, May 8. Your entire team MUST attend this ENTIRE marathon assessment for all the musicals in your Program. You will receive feedback from the actors, the music director, and the dramaturgical staff; and most importantly, you’ll be able to hear exactly what you have written and can evaluate for yourself what you think of it. You might toss out whole songs, or even whole characters. You might need to cut some material to stay within your fifteen minutes. Please bear in mind that this Assessment day will be a LONG one, as you’ll be expected to support your fellow writers and learn from their Assessments as well as from your own. Don’t make any other plans for this day, and remember to bring your Red Bull.

The Second Draft:  You’ll be given just over two weeks to complete the second draft, which will be due between 6:00 pm and 10:30 pm on Wed, May 26. There will be no rough draft deadline for this second draft – what you turn in is what will be rehearsed. There will be no new additional pages accepted after the drop-off date. NOTE: This is a DROP OFF ONLY.

It is our intention to cast your actual performers for this draft, so that you can have a chance to test out various keys and vocal ranges. The actors will rehearse from Thu, May 27 through Thu, Jun 3. You are invited and encouraged to attend all but the first of these rehearsals, but do not expect performances the first time you hear your work; there will not be any. The most important thing you can learn from these early rehearsals is: does your project make sense on the page? Do the actors instantly understand what they are reading, or are they struggling for meaning in the lines, or for notes in the score? How can you make your project easier to rehearse the next time around? Don’t expect the actors to be mind readers. If you want a line read angrily, write an angry line. Even though the purpose of rehearsing the draft is not to create a performance, if you want a clear presentation of what you meant when the assessment occurs, write clearly. This does not mean write instructions to the actors; it means make the dialogue speak for itself. NOTE that any requests or suggestions for revisions must go through and be approved by the director.

Fri, Jun 4. You are invited and encouraged to attend all but the first of these rehearsals, but do not expect performances the first time you hear your work; there will not be any. The most important thing you can learn from these early rehearsals is: does your project make sense on the page? Do the actors instantly understand what they are reading, or are they struggling for meaning in the lines, or for notes in the score? How can you make your project easier to rehearse the next time around? Don’t expect the actors to be mind readers. If you want a line read angrily, write an angry line. Even though the purpose of rehearsing the draft is not to create a performance, if you want a clear presentation of what you meant when the assessment occurs, write clearly. This does not mean write instructions to the actors; it means make the dialogue speak for itself. NOTE that any requests or suggestions for revisions must go through and be approved by the director.

Second Assessment:  Your Second Assessment will take place on Sat, Jun 5 from 2:00 pm to 11:00 pm. Once again, everyone is required to attend the ENTIRE assessment session for your Program – and it will be another marathon. Please don’t grumble to yourself about the tediousness of sitting through detailed evaluations of musicals which you did NOT write. Instead, please pay close attention and you will find that you sometimes learn MUCH MORE by listening to someone else’s feedback than you do from listening to your own. You are not emotionally connected to someone else’s material, and therefore have no need to defend what’s been written. Because of this, you will often be able to take feedback that was given to other writers and apply it very effectively to your own work.

Rough Final Draft:  You’ll be given just ONE week to complete the final draft. A Rough Final Draft will be due on Wed, Jun 16 at 6:00 pm. The staff will do a cold read/sing-through of your material to check for your final timing. If your musical is running long, suggestions for possible cuts will be discussed. This session is scheduled to run until 11:00 pm, and all writers are required to attend the entire session.

NOTE: Once your show goes into rehearsal and gets staged by your director, we will have a run with the cast and time your show again. If it is running long at THAT point, any additional cuts will be chosen and implemented by your director and dramaturge. It's an important lesson to learn that once a director and cast get a hold of a script, it most definitely will get LONGER. For this reason, you will want to make sure that your show is coming in at UNDER 15 minutes if you can, or that you provide provisional cuts that can be implemented if the show is running long. But bear in mind that at this point in the process, the director will be the final word on these cuts.

ALSO NOTE: Once your show goes up in front of an audience, if the reactions of the audience make the show run longer than 15 mintues, you don't need to worry. We will NOT turn out the lights on you.

Final Performance Copy:  You will have A VERY SHORT WINDOW to finalize your script, and your Final Performance Script will be due between 6:00 pm and 10:30 pm on Sat, Jun 19. This is a DROP OFF ONLY.

Director Meetings:  After submitting your final draft, you will have an opportunity meet with your DIRECTOR to discuss your desires for the presentation of your musical. At least ONE member of your writing team must be available to meet (or Zoom) with your Director between 6:00 pm and 10:30 pm on Sun, Jun 20.

Rehearsals with your final cast will take place between Mon, Jun 21 and We are planning to have a Preview performance of all the musicals at the NMI space on Sat, Jul 10, and official performances on Tue, Jul 13 and Wed, Jul 14 (exact location and time TBA). Each show will receive one performance on each night.

We will also be scheduling “Post Partum” meetings with the staff during the week following the performances (times to be scheduled). At these 30-40 minute individual meetings, we will be asking for your input on your Core Curriculum experience, and we will discuss your potential future at NMI.

A word about production values: There will be a few basic set pieces, and no opportunity for sound or light cues. The actors will be wearing basic concert dress, with the possibility of one costume piece (hat, scarf, vest, tie) for each 15 Minute Musical. Do not write elaborate costumes, props, lighting and sound cues, because they will be ignored. If a moment in your 15 Minute Musical is dependent upon a costume, a prop, lighting or sound cue, it will not be realized. If a moment in your 15 Minute Musical is dependent upon a costume, a prop, lighting or sound cue, it will not be realized. If a moment in your 15 Minute Musical is dependent upon a costume, a prop, lighting or sound cue, it will not be realized. Yes – you’ve just read the same sentence three times. Here it is again for emphasis: If a moment in your 15 Minute Musical is dependent upon a costume, a prop, lighting or sound cue, it will not be realized.

A note about mime: You may think that one way to get around the "no prop" requirement is to include a necessary prop in your script and expect that the actors will simply mime the prop. Don't do it. Trust us, random mime in a production just ends up looking cheesy. Don't do it.

Now the Tough Talk
The 15 Minute Musical experience is offered only to those of you who have completed all of your Core assignments; had a reasonable success in your appropriate Lab(s)and paid your fees in full no later than a week before the launch date. We will not put you on a collaborative team if you have not fulfilled these criteria. If you have any questions about your official status with Core assignments – please send us an email at admin@nmi.org IMMEDIATELY.

Check in immediately with your Lab instructor to find out whether he/she feels you have had, or are likely to have, a reasonable success. If there is any question about your Lab status, get going right now to clear it up

The writing/re-writing schedule is intense and very demanding. You might seriously think about clearing your schedule completely, particularly during the creation of the first draft, and particularly the last 24 hours before each draft is due. There’s never enough time to write these; we know that. That’s part of what we want you to experience: writing under pressure and writing to make deadlines. Important reiteration: If you miss a draft deadline, or if you hand in material which is not in the correct format, we will not rehearse your musical until after the next deadline (which coincides with the next draft). You will not be allowed to insert new pages after a deadline has passed. There will be no exceptions to this rule.

A Note to Writers about Rehearsals
Authors are encouraged to attend all the rehearsals beginning with the second draft. Observe. Take notes. Be available to answer questions if the director or music director should ask something of you. But do not give direction to the actors. If an actor asks advice on how to do a certain line or character or musical moment, say, “Let’s ask the director/musical director.” Watch your body language during rehearsals – do nothing to make the actors uncomfortable. It’s appropriate to answer questions that the directors may ask. Be tactful. Don’t criticize the actors when asked if a moment is what you intended. Say something like, “What’s happening is interesting, but it was my intention for the line to be angrier/happier/sillier, etc.”

Understand that the rehearsal period is a process. The actors are building a performance. Give the directors and actors time to do their work. Don’t expect a performance during the rehearsals, assessments, or even the run-throughs. Actors will forget lines, say wrong words, etc. Don’t make endless notes about line readings, emotional attitudes, etc. Look for the overall understanding of the piece, not the individual moments. If a moment is totally unrealized, make a note and give it to your director at a break or after rehearsal. Please feel welcome to attend all rehearsals for which your show is scheduled. However, do not expect that the production team can accommodate your schedule, or let you know the exact hour of your show’s rehearsal. If the rehearsal is 7:00pm to 11:00pm, plan to attend the entire evening.

A Note to Actors about Rehearsals
This communication will go to the actors: Some of ANMT’s writers and composers are very experienced. For others, however, seeing their show in rehearsal may be a new experience. We have requested that all the writers communicate through the director and music director, not directly to you, and we request that you help us by not going to the writers directly with questions or suggestions. This doesn’t mean you can’t speak with the writers socially and get to know them, etc.; it only means that we request that discussion of the musical itself goes through the directors. We want to make your experience with us as pleasurable as possible. If you’re not getting what you need from rehearsals or directors, please contact a staff member and we’ll do our best to improve whatever we can.

Thanks for your attention. We’re very much looking forward to going through this process with you all!

John Sparks, Founding Artistic Director
Elise Dewsberry, Artistic Director
Scott Guy, Executive Director
New Musicals Inc./Academy for New Musical Theatre

P.S. If you have any questions for us, please feel free to email us at admin@nmi.org.

15 MINUTE MUSICALS SCHEDULE
Sat, Apr 3 12:00 pm - 3:00 pm 15 Minute Musicals Launch Day. Collaborative teams formed and agreements signed; theme announced; parameters detailed. Authors should plan to spend the rest of the evening AT LEAST to devise a story line.
**Required of all collaborators**
Mon, Apr 5 10:00 pm Deadline for bookwriter to upload outline - in correct ANMT format - and also email it to admin@nmi.org and all collaborators. DO NOT PROCEED WITHOUT GREENLIGHT ON OUTLINE
Mon, Apr 12 10:00 pm Deadline for bookwriter to upload rough draft of book only. There will be no feedback on the rough draft, and no greenlight is needed for the team to proceed to song spotting.
Thu, Apr 15 10:00 pm Deadline for the team to upload and email proposed song list. There will be no feedback on the song list, and no greenlight is needed for the team to proceed with writing the songs.
Fri, Apr 30 6:00 pm - 11:00 pm RED PROGRAM - Rough First Draft Due. You are to provide four (4) copies, correctly collated and hole-punched. Format must adhere to ANMT Format Guidelines as posted on the website. (Please bring EXTRA copies for your fellow writing teams.) ANMT Staff will review draft for formatting clarity and rehearsal-readiness (no dramaturgical feedback). All writers must attend the entire session.
**Required of all collaborators**
Sat, May 1 6:00 pm - 11:00 pm BLUE PROGRAM - Rough First Draft Due. You are to provide four (4) copies, correctly collated and hole-punched. Format must adhere to ANMT Format Guidelines as posted on the website. (Please bring EXTRA copies for your fellow writing teams.) ANMT Staff will review draft for formatting clarity and rehearsal-readiness (no dramaturgical feedback). All writers must attend the entire session.
**Required of all collaborators**
Mon, May 3 6:00 pm - 10:30 pm RED PROGRAM - First Draft Due. You are to provide eight (8) copies, correctly formatted, collated and hole-punched. ALSO UPLOAD SCRIPT, SCORE, and SOUND FILES TO YOUR WEBSITE FOLDER.
**Drop-off only**
Tue, May 4 6:00 pm - 10:30 pm BLUE PROGRAM - First Draft Due. You are to provide eight (8) copies, correctly formatted, collated and hole-punched. ALSO UPLOAD SCRIPT, SCORE, and SOUND FILES TO YOUR WEBSITE FOLDER.
**Drop-off only**
Tue, May 4 7:00 pm - 11:00 pm RED PROGRAM - First Draft rehearsals begin. This first rehearsal is closed to authors. Authors welcome at subsequent rehearsals (but there will be no rewriting during this period.)
Wed, May 5 7:00 pm - 11:00 pm BLUE PROGRAM - First Draft rehearsals begin. This first rehearsal is closed to authors. Authors welcome at subsequent rehearsals (but there will be no rewriting during this period.)
Sat, May 8 2:00 pm - 11:00 pm RED PROGRAM - Presentations and Assessments of First Drafts - dramaturgical feedback from ANMT staff. BRING COPIES OF YOUR SCRIPT/SCORE SO YOU CAN FOLLOW ALONG DURING THE FEEDBACK (and consider bringing extra copies for your fellow writers to follow along.) All teams must attend the entire session.
**Required of all collaborators**
Sun, May 9 2:00 pm - 11:00 pm BLUE PROGRAM - Presentations and Assessments of First Drafts - dramaturgical feedback from ANMT staff. BRING COPIES OF YOUR SCRIPT/SCORE SO YOU CAN FOLLOW ALONG DURING THE FEEDBACK (and consider bringing extra copies for your fellow writers to follow along.) All teams must attend the entire session.
**Required of all collaborators**
Wed, May 26 6:00 pm - 10:30 pm RED PROGRAM - Second Draft Due. You are to provide eight (8) copies, correctly formatted, collated and hole-punched. ALSO UPLOAD SCRIPT, SCORE, and SOUND FILES TO YOUR WEBSITE FOLDER.
**Drop-off only**
Thu, May 27 6:00 pm - 10:30 pm BLUE PROGRAM - Second Draft Due. You are to provide eight (8) copies, correctly formatted, collated and hole-punched. ALSO UPLOAD SCRIPT, SCORE, and SOUND FILES TO YOUR WEBSITE FOLDER.
**Drop-off only**
Thu, May 27 7:00 pm - 11:00 pm RED PROGRAM - Second Draft Rehearsals begin. (Exact schedule TBA) Authors may attend these rehearsals beginning with the SECOND rehearsal. NOTE that any requests or suggestions for revisions must go through and be approved by the director.
Sat, May 29 10:00 am - 3:00 pm BLUE PROGRAM - Second Draft Rehearsals begin. (Exact schedule TBA) Authors may attend these rehearsals beginning with the SECOND rehearsal. NOTE that any requests or suggestions for revisions must go through and be approved by the director.
Sat, Jun 5 2:00 pm - 11:00 pm RED PROGRAM - Presentations and Assessments of Second Drafts - dramaturgical feedback from ANMT staff. BRING COPIES OF YOUR SCRIPT/SCORE SO YOU CAN FOLLOW ALONG DURING THE FEEDBACK (and consider bringing extra copies for your fellow writers to follow along.) All teams must attend the entire session.
**Required of all collaborators**
Sun, Jun 6 2:00 pm - 11:00 pm BLUE PROGRAM - Presentations and Assessments of Second Drafts - dramaturgical feedback from ANMT staff. BRING COPIES OF YOUR SCRIPT/SCORE SO YOU CAN FOLLOW ALONG DURING THE FEEDBACK (and consider bringing extra copies for your fellow writers to follow along.) All teams must attend the entire session.
**Required of all collaborators**
Wed, Jun 16 6:00 pm - 11:00 pm RED PROGRAM - Rough Final Draft Due. You are to provide four (4) copies, correctly collated and hole-punched. Format must adhere to ANMT Format Guidelines as posted on the website. (Please bring EXTRA copies for your fellow writing teams.) The ANMT staff will read/sing through the script for timing. If your script is over 15 minutes, you will be asked to make cuts before submitting the final copies. All teams must attend the entire session.
**Required of all collaborators**
Thu, Jun 17 6:00 pm - 11:00 pm BLUE PROGRAM - Rough Final Draft Due. You are to provide four (4) copies, correctly collated and hole-punched. Format must adhere to ANMT Format Guidelines as posted on the website. (Please bring EXTRA copies for your fellow writing teams.) The ANMT staff will read/sing through the script for timing. If your script is over 15 minutes, you will be asked to make cuts before submitting the final copies. All teams must attend the entire session.
**Required of all collaborators**
Sat, Jun 19 6:00 pm - 10:30 pm RED PROGRAM - Final Performance Script Due. You are to provide ten (10) copies, correctly formatted, collated and hole-punched. This is the draft which will be performed; no rewrites or new pages of any kind after this date. If your musical is running longer than 15-minutes at this point, any necessary cuts will be made by the Director.
**Drop-off only**
Sun, Jun 20 6:00 pm - 10:30 pm BLUE PROGRAM - Final Performance Script Due. You are to provide ten (10) copies, correctly formatted, collated and hole-punched. This is the draft which will be performed; no rewrites or new pages of any kind after this date. If your musical is running longer than 15-minutes at this point, any necessary cuts will be made by the Director.
**Drop-off only**
Sun, Jun 20 6:00 pm - 10:30 pm RED PROGRAM - DIRECTOR MEETINGS: An opportunity for writing teams to meet with their director to discuss their final draft prior to the final rehearsal process. At least ONE team member from each show MUST be available to meet. (Music Directors, Stage Managers, and Actors are NOT called.)
**Required of all collaborators**
Mon, Jun 21 6:00 pm - 10:30 pm BLUE PROGRAM - DIRECTOR MEETINGS: An opportunity for writing teams to meet with their director to discuss their final draft prior to the final rehearsal process. At least ONE team member from each show MUST be available to meet. (Music Directors, Stage Managers, and Actors are NOT called.)
**Required of all collaborators**
Mon, Jun 21 7:00 pm - 11:00 pm RED PROGRAM - Final rehearsals begin – schedule to be announced. Authors may attend these rehearsals. NOTE that any requests or suggestions for revisions must go through and be approved by the director.
Tue, Jun 22 7:00 pm - 11:00 pm BLUE PROGRAM - Final rehearsals begin – schedule to be announced. Authors may attend these rehearsals. NOTE that any requests or suggestions for revisions must go through and be approved by the director.
Sat, Jul 10 7:00 pm - 11:00 pm Preview performance at NMI. Invited audience only. 7:00pm show. Rehearsal schedule TBA.
Tue, Jul 13 2:00 pm - 11:00 pm FIRST PERFORMANCE
Wed, Jul 14 5:00 pm - 11:00 pm SECOND PERFORMANCE
Thu, Jul 15 10:00 am - 8:30 pm Scheduled status review with John and Elise
Tue, Jul 20 6:00 pm - 8:30 pm Scheduled status review with John and Elise
Sat, Jul 24 12:30 pm - 6:00 pm Scheduled status review with John and Elise
ALSO NOTE that whenever the instructions below indicate that ALL COLLABORATORS are REQUIRED - it refers to all collaborators for either the RED or BLUE PROGRAM, depending on the deadline. RED PROGRAM writers are NOT required at BLUE PROGRAM deadlines, and vice versa (although they are always welcome.)

15MM Schedule Overview

Below is the current schedule overview for the 15MMs.  The schedule info gets updated through EVENTS; and the text gets updated through the VIEW.

DIRECTOR Schedule
MUSIC DIRECTOR Schedule
15 MINUTE MUSICALS - MUSIC DIRECTOR SCHEDULE
Tue, May 4 7:00 pm - 11:00 pm RED - FIRST FIRST DRAFT REHEARSAL
Wed, May 5 7:00 pm - 11:00 pm BLUE - FIRST FIRST DRAFT REHEARSAL
Fri, May 7 7:00 pm RED - FIRST DRAFT REHEARSALS
Sat, May 8 2:00 pm - 11:00 pm
Actors and MD released by 6:00pm.
RED - FIRST ASSESSMENT
Sat, May 8 2:00 pm - 4:00 pm RED - LAST FIRST DRAFT REHEARSAL
Sat, May 8 7:00 pm BLUE - FIRST DRAFT REHEARSALS
Sun, May 9 2:00 pm - 11:00 pm
Actors and MD released by 6:00pm.
BLUE - FIRST ASSESSMENT
Sun, May 9 2:00 pm - 4:00 pm BLUE - LAST FIRST DRAFT REHEARSAL
Thu, May 27 7:00 pm - 11:00 pm RED - FIRST SECOND DRAFT REHEARSAL
Fri, May 28 7:00 pm - 11:00 pm RED - SECOND DRAFT REHEARSALS
Sat, May 29 10:00 am - 3:00 pm BLUE - FIRST SECOND DRAFT REHEARSAL
Sat, May 29 7:00 pm - 11:00 pm RED - SECOND DRAFT REHEARSALS
Mon, May 31 7:00 pm - 11:00 pm BLUE - SECOND DRAFT REHEARSALS
Tue, Jun 1 7:00 pm - 11:00 pm BLUE - LAST SECOND DRAFT REHEARSAL
Wed, Jun 2 7:00 pm - 11:00 pm BLUE - LAST SECOND DRAFT REHEARSAL
Thu, Jun 3 7:00 pm - 11:00 pm RED - LAST SECOND DRAFT REHEARSAL
Thu, Jun 3 7:00 pm - 11:00 pm BLUE - LAST SECOND DRAFT REHEARSAL
Fri, Jun 4 7:00 pm - 11:00 pm RED - LAST SECOND DRAFT REHEARSAL
Sat, Jun 5 2:00 pm - 11:00 pm
Actors and MD released by 6:00pm.
RED - SECOND ASSESSMENT
Sun, Jun 6 2:00 pm - 11:00 pm
Actors and MD released by 6:00pm.
BLUE - SECOND ASSESSMENT
Mon, Jun 21 7:00 pm - 11:00 pm RED - FIRST FINAL DRAFT REHEARSAL
Tue, Jun 22 7:00 pm - 11:00 pm BLUE - FIRST FINAL DRAFT REHEARSAL
Tue, Jun 22 7:00 pm - 11:00 pm RED - FINAL DRAFT REHEARSALS
Wed, Jun 23 7:00 pm - 11:00 pm RED - FINAL DRAFT REHEARSALS
Wed, Jun 23 8:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Thu, Jun 24 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Thu, Jun 24 7:00 pm - 11:00 pm RED - FINAL DRAFT REHEARSALS
Fri, Jun 25 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Sat, Jun 26 11:30 am - 6:00 pm BLUE - FINAL DRAFT REHEARSALS
Sun, Jun 27 2:00 pm - 8:00 pm RED - FINAL DRAFT REHEARSALS
Mon, Jun 28 7:00 pm - 11:00 pm RED - FINAL DRAFT REHEARSALS
Mon, Jun 28 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Tue, Jun 29 7:00 pm - 11:00 pm RED - FINAL DRAFT REHEARSALS
Tue, Jun 29 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Wed, Jun 30 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Thu, Jul 1 7:00 pm - 11:00 pm RED - FINAL DRAFT REHEARSALS
Thu, Jul 1 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Fri, Jul 2 8:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Sat, Jul 3 10:00 am - 6:00 pm BLUE - FINAL DRAFT REHEARSALS
Mon, Jul 5 7:00 pm - 11:00 pm RED - FINAL DRAFT REHEARSALS
Mon, Jul 5 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Tue, Jul 6 7:00 pm - 11:00 pm RED - FINAL DRAFT REHEARSALS
Tue, Jul 6 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Wed, Jul 7 7:00 pm - 11:00 pm RED - FINAL DRAFT REHEARSALS
Wed, Jul 7 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Thu, Jul 8 7:00 pm - 11:00 pm RED - FINAL DRAFT REHEARSALS
Thu, Jul 8 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Fri, Jul 9 7:00 pm - 11:00 pm BLUE - FINAL DRAFT REHEARSALS
Sat, Jul 10 7:00 pm - 11:00 pm ALL - PREVIEW
Sun, Jul 11 2:00 pm - 8:00 pm ALL - FINAL DRAFT REHEARSALS
Tue, Jul 13 2:00 pm - 11:00 pm ALL - FIRST PERFORMANCE
Wed, Jul 14 5:00 pm - 11:00 pm ALL - SECOND PERFORMANCE
EVALUATORS Schedule
15 MINUTE MUSICALS - EVALUATOR SCHEDULE
Fri, Apr 30 6:00 pm - 11:00 pm RED - ROUGH DRAFT REVIEW
Sat, May 1 6:00 pm - 11:00 pm BLUE - ROUGH DRAFT REVIEW
Sat, May 8 2:00 pm - 11:00 pm RED - FIRST ASSESSMENT
Sun, May 9 2:00 pm - 11:00 pm BLUE - FIRST ASSESSMENT
Sat, Jun 5 2:00 pm - 11:00 pm RED - SECOND ASSESSMENT
Sun, Jun 6 2:00 pm - 11:00 pm BLUE - SECOND ASSESSMENT
Wed, Jun 16 6:00 pm - 11:00 pm RED - ROUGH FINAL DRAFT REVIEW
Thu, Jun 17 6:00 pm - 11:00 pm BLUE - ROUGH FINAL DRAFT REVIEW
ACTOR SCHEDULES

This schedule is for ACTORS for only the SECOND AND THIRD DRAFTS (no First draft dates). This can also be used for STAGE MANAGERS, MUSIC DIRECTORS, and DIRECTORS.


=============================================================================

ADMIN FILES

To view the 15MM ADMIN FILES, go to the link below (for File Sharing) and filter for the CATEGORY “15MM ADMIN DOCS”

http://nmi.org/wp-admin/admin.php?page=wpclients_content&tab=files

BULLETIN TITLE

SENT

   

POST LAUNCH

April 3

VIEW

POST DEADLINES

April 19

VIEW

PRE ROUGH DRAFT REVIEW

April 26

VIEW

POST ROUGH DRAFT REVIEW

May 1

VIEW

PRE FIRST ASSESSMENT

May 6

VIEW

POST FIRST ASSESSMENT

May 9

VIEW

PRE SECOND DRAFT SUBMISSION

May 21

VIEW

POST SECOND DRAFT SUBMISSION

June 1

VIEW

POST SECOND ASSESSMENT

June 7

VIEW

PRE ROUGH FINAL DRAFT REVIEW

June 14

VIEW

PRE FINAL DRAFT SUBMISSION

June 18

VIEW

POST FINAL DRAFT SUBMISSION

June 21

VIEW

PRE FINAL REHEARSALS

VIEW

REHEARSAL WEEK 2

June 28

VIEW

REHEARSAL WEEK 3

July 7

VIEW

PREVIEW AND PERFORMANCES

VIEW

FINAL 15 MINUTE BULLETIN!

July 12

VIEW

2021 15 Minute Musicals

     LAUNCH DATE: April 3, 2021


TITLE DEADLINE FOR PUBLICITY: May 17, 2021
TITLE DEADLINE FOR PROGRAM: June 28, 2021
TICKETS PRE-SALE DATE: May 24, 2021
TICKETS PUBLIC SALE DATE: May 31, 2021


THEME: Crimes and Misdemeanors

Incorporate the main theme into your show in some way (directly, metaphorically, by reference, etc.) Also, your show must contain the exact words 'crimes and misdemeanors' somewhere -- but it's your team's choice whether the exact words appear either as spoken dialogue OR as a lyric.


BOOK PARAMETER: That's gonna leave a mark

Your musical must contain the above phrase at some point during the SPOKEN dialogue. You can be creative with the punctuation, but you must use these exact words in this exact order (with no intervening words).


MUSIC PARAMETER: Eb up to F# up to A# down to Db up to G

At least ONE of the songs in your musical must contain the exact musical motif above in a REPEATING A-SECTION (meaning that we must hear the motif MORE THAN ONCE during the song). The motif must be the FIRST NOTES of the A section, and then the motif should develop over the course of the song. You may set the motif in any key, and in any rhythmic pattern – but the intervallic relationship between the notes must be exact (including the direction of the intervals).


LYRIC PARAMETER:

You must supply the musical motif with a lyric, which therefore repeats exactly each time the musical motif is sung. An exception will be allowed the final time the lyric is sung, for the purposes of progression. However, we would encourage you to accept the challenge of keeping the lyric exact each time, but deriving progression/irony/deeper meaning by the context preceding the repeated lyric.



OFFSET TASK NAME DESCRIPTION/COMMENTS    
-150 HOLIDAYS

Determine the upcoming dates for the High Holidays, Easter, Mother's Day, Father's Day, Memorial Day, Super Bowl, Academy Awards, Tony's, Thanksgiving, Passover, Hannukah - and add them to the Main ANMT calendar.

-150 CHANGES

Go over notes from the previous season and make any necessary changes/additions.

-150 BUDGET

Request a copy of the approved budget from the Executive Director.

Actors: $200 each; Directors: $500 each; MD's: $700 each; SM's: $500 each; Theatre Rental: $850

-120 SCHEDULE

Generate the schedule for the upcoming season. (Use the past season as a template; duplicate the EVENT posts and edit the dates.)

-120 PERFORMANCE TIMES

If there are only four shows (maybe even five) - set the performance times for 8:00pm instead of 7:30pm. Make sure the Preview time is the SAME as whatever the performance time is to avoid confusion.

-110 WRITER SCHEDULING HEADS UP

Use the 15MM SCHEDULE OVERVIEW "View" to generate text to send to all writers to make sure they block out the right periods of time not only for required attendance dates, but also for the writing periods.

-92 STAFF

Begin the process of deciding who will produce, direct, and MD this season.

-91 MEETINGS

Schedule basic dates/times for Status Meetings with John and Elise, and adjust schedule to reflect.

-90 VENUE

Book a venue

-90 MUSIC EVALUATOR

Send proposed schedule and fee information to proposed Music Evaluator to determine availability. (Generate staff-specific schedules from the ADMIN section of the 15MM homepage.)

May 3/4 Rough Draft Review and June 19/20 Final Draft Review: Ross
May 11/12 and June 8/9 Assessments: Jake

-90 AUDITIONS

Set up General Auditions (usually in mid to late February) using the GENERAL AUDITIONS function. ALSO - send email to the regular roster of actors to see who might be interested who does NOT need to audition.

Online?

-90 MUSIC DIRECTOR

Send proposed schedule and fee information to proposed Music Director to determine availability. (Generate staff-specific schedules from the ADMIN section of the 15MM homepage.)

-90 PRODUCER

Once Producer is hired, send a note to Scott with name and negotiated fee so he can prepare a letter of agreement.

-90 THEME

Begin to discuss the THEME for the season.

-90 TEAMS

Take a look at potential collaborative teams, and think about whether we will need one or two creative teams; and whether or not we will need to bring in outside writers. If there is a possibility of needing outside writers, begin to make discreet inquiries.

-90 BIBLE

Generate the 15MM Bible. (This should already be accomplished when all the dates are cloned as per the last item on the task list from last year.)

-90 PIANO

Once venue is set, make sure it has an appropriate piano, or arrange to get one.

-80 SET

Once venue is set, find out what SET (if any) will be on the stage for the performances. Get a floor-plan if possible.

-60 AUDITIONS

Make sure there is a current SCHEDULE available for the General Auditions so auditioners can record their conflicts.

-60 BIBLE

Distribute the 15MM Bible to the writers at the CORE session.

-60 GENERAL AUDITIONS FOLLOW-UP

Send email thanks to General Auditioners with more info. Use auto-email function from PRODUCERS/GENERAL AUDITIONS. Make sure to record NO SHOWS in audition confirm FIRST.

-60 PARAMETERS

Discuss how the parameters will work this season.

-60 PREFERENCE

The Collaborator Preference form is automatically a HANDOUT as part of the Core assignments this month - but it will need to be updated with the proper collaborator list. Also make sure the writers know they need to return these forms next month.

-45 STAGE MANAGER

Hire a Stage Manager.

-30 PARAMETERS

Finalize parameters.

-30 TEAMS

Collect Preference Forms and finalize teams.

-30 UPLOAD

Set up the upload folders for the writing teams. (1.Use the main 15-MM Project Page. 2. Change the names for each of the teams (no need to change the WP-Client File Category numbers (for uploading files) - they will be re-used from last year BUT you DO need to clean out the File Sharing files from last year. 3. Create a new Project Personnel Category for the new year - make it the parent of RED and BLUE. 4. Assign the writers to Project Personnel with the proper categoreis. 4. Hold off on assigning the writers to the WP-Client Project until after the Launch (or maybe assign them, but change the protection on the page until the day?).

WP Client File Categories are:
RED TEAMS
1 = File Category 71
2 = File Category 72
3 = File Category 73
4 = File Category 74

BLUE TEAMS
1 = File Category 75
2 = File Category 76
3 = File Category 77
4 = File Category 97

-30 SM

Once Stage Manager is hired, send a note to Scott with name and negotiated fee so he can prepare a letter of agreement.

-30 MUSIC DIRECTOR

Once MD is hired, send a note to Scott with name and negotiated fee so he can prepare a letter of agreement.

-30 LOGO

Finalize a logo and upload the graphic to the Event page.

-30 DIRECTOR

Once Director is hired, send a note to Scott with name and negotiated fee so he can prepare a letter of agreement.

-14 BINDERS

Make sure we have enough binders for the season.

-7 PRE-LAUNCH WRITER MEMO

Send pre-Launch update to writers. (Set this up as an auto-function using the text in the comment below.)

-6 DOCUMENTS

Print out documents for Launch. (Use Launch Prep List for exact details.)

-5 DIRECTOR

Once director is hired, send the DIRECTOR MEMO and the SAMPLES OF FLAIR. (Available in the 15MM ADMIN Documents on the 15MM ADMIN page.) Also make sure the Director knows to set a suitably early date to be OFF-BOOK.

-1 PARAMETERS

Notate the parameters: make a RECORDING and IMAGE of the music parameter. Upload these to the 15MM Values CPT.

1 PARAMETERS

Enter the parameters into the 15MM Values post.

1 BULLETIN

Send the first 15MM Bulletin. (Send all future bulletins according to schedule on 15MM Admin page.)

5 MEETINGS

Send out list of Status Meeting slots for writers to book meetings.

15 FOLDERS

Archive all outlines to clear the project folders for upcoming drafts. (Requires FTP access.)

15 CAST

Send email to the First Assessment singers reminding them about first week of rehearsals; asking them to bring recording devices.

15 SM

Email Stage Manager a reminder about the First Draft Submission.

15 CAST

Begin making casting offers; include schedule (generate from 15MM home page).

22 SCHEDULE

Get rehearsal schedule from Director to include in 15MM Bulletin.

22 BINDERS

Set up binders/dividers for the stage manager to use to prepare the drafts as they arrive.

23 EDITED COPY OF SCRIPT

During the rehearsal week, the stage manager (or director or producer) should keep one extra copy of the script in which 1) the parameters are identified; 2) all typos, grammatical errors, and formatting errors are notated. This copy will be given to the writers at the First Assessment to aid in their revisions.

29 FOLDERS

Archive all files to clear the project folders for upcoming drafts.

30 ACTOR WELCOME

The Producer or Director should make a speech to WELCOME the actors - and to make sure to set the tone for an atmosphere of HELPING rather than DISHING the writers' work.

35 ACTORS

Make sure the actors RETURN THEIR BINDERS before leaving.

36 SM

Email Stage Manager a reminder about the Second Draft Submission.

36 ACTORS

Send email to actors reminding them about the upcoming week of rehearsals; asking them to bring recording devices. (This info will ALSO be in the Actor section of a 15MM Bulletin - but the actors may not be used to paying attention to that yet!)

43 SCHEDULE

Get rehearsal schedule from Director to include in 15MM Bulletin.

43 PHOTOGRAPHER

Set up photographer for Photo Shoot (before second performance).

44 EDITED COPY OF SCRIPT

During the rehearsal week, the stage manager (or director or producer) should keep one extra copy of the script in which 1) the parameters are identified; 2) all typos, grammatical errors, and formatting errors are notated. This copy will be given to the producer.

44 SET

Get photos of the actual set at the theatre and distribute.

48 THANKS

Request that Scott prepare his annual THANKS section for the program.

48 PROGRAM

Check on the status of the preparation of the program. Make sure HOLLYWOOD PIANO COMPANY is credited, if applicable, and that a spot is earmarked for the Executive Director's annual "Thanks" section.

49 ACTORS

Make sure the actors RETURN THEIR BINDERS before leaving.

50 VOLUNTEERS

Using the Producer Menu, post Volunteer tasks for the performances.

50 SM

Email Stage Manager a reminder about the Final Script Submissions.

50 FOLDERS

Archive all files to clear the project folders for upcoming drafts.

54 FLAIR

Distribute Flair Samples to show director/actors during rehearsals. (Document in ADMIN files.)

55 SCHEDULE

Get rehearsal schedule from Director to include in 15MM Bulletin. Make sure the Director has set a suitably early deadline to be OFF BOOK.

56 ACTORS

Send email to actors reminding them about the upcoming week of rehearsals; asking them to bring recording devices. (This info will ALSO be in the Actor section of a 15MM Bulletin - but the actors may not be used to paying attention to that yet!)

57 COMPS

Enter comp ticket allotments for writers, cast, and crew.

58 PREVIEW GUEST LIST

Start an invitation list for the Preview (and make sure the 15MM Bulletin includes instructions for requesting reservations via email.)

60 PIANO

Check in on delivery and pick-up details for piano rental, if applicable.

64 SET

Determine set pieces for transport. Do they need painting?

64 PREP FOR LULU PUBLICATION

Make sure the writers all know that they are supposed to be keeping track of all changes and incorporating them into their own copies of the script, as we will want updated copies as soon after the presentations as possible (for publication).

64 SET CHANGES/PATTER

Check in with the director to make sure plans are being made for SET CHANGES. Also make sure to discuss plans for pre/post show patter and how the parameters will be revealed to the audience.

64 CHECKS

Request checks from Scott (for actors, director, music director, stage manager).

71 PARTY

Email all participants to plan for post-performance party at end of run.

71 FILES

Request final files from writers in preparation for LuLu publication.

71 VOLUNTEERS

Send out reminders to Volunteers (from the Producer Menu).

71 POSTER

Get a legal-sized version of the graphic as a poster; print copies for the ANMT hall.

71 REMINDERS

Send out reminders to ticket holders (from the Producer Menu).

71 FULL LENGTH

Send out the Full Length Curriculum Memo as a reminder to writers prior to their Status Meetings.

71 PHOTO SHOOT SHOT LIST

Have the director make a shot list for the Photo Shoot (going in reverse order so the cast winds up in their first costume at the end of the shoot.)

73 PROOF PROGRAM

Bring program to rehearsal for final proofing.

75 PRINT PROGRAM

Take program to NoHo Copy for printing.

75 CONCESSIONS

Shop for concessions.

78 CHECKS

Distribute checks to creative team.

78 PICK UP PROGRAMS

Pick programs up from printer and bring to theatre.

80 ARCHIVE

Archive specifics to set up for next season. DUPLICATE all 15MM dates to the next season.
Change the VIEWS to filter for the next year's dates.
Update all the Tasks with NO completed date