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core curriculum handout detail

WHAT’S NEXT? HAND-OUT


TO ACCOMPANY THE: PREPARATION FOR 15 MINUTE MUSICAL LAUNCH ASSIGNMENT

NOTE: You are welcome to have a look at this Hand-out - but please bear in mind that we are not at all sure yet what the 2021-22 season will hold - so we are not making any promises yet! Most of this info will be the same - but the section about the Fringe Curriculum is completely up in the air. This past year, we switched that to the Full Length Curriculum, but we don’t yet know what we will be able to do for the upcoming season. Please bear with us while we try to predict what the pandemic has in store for us!

WHAT’S NEXT FOR YOU AT NMI?

New Musicals Inc. (and the Academy for New Musical Theatre) has many programs and opportunities, and we know that the possibilities ahead after your Core Curriculum year can be confusing to understand.

Briefly – if you continue with NMI next season, you will be asked to participate in our Fringe Curriculum and write a 30-40 minute musical by April of next year, which will have the possibility of produced at the Hollywood Fringe Festival. You would be considered a “Member” of NMI, and the cost of your second year would be $800 (billed in quarterly installments of $200). As a Member of NMI, you would also be asked to contribute eight hours of volunteer service during each season (more info on this later in this memo).

The rest of this memo will go into more detail about all the points made above, as well as provide additional info about other opportunities, and on-going opportunities after your second year with us.

EVALUATIONS OF CORE PARTICIPANTS

Writers who complete the Core Curriculum (including the 15 Minute Musicals) and at least one craft Lab will be evaluated by the staff at an end-of-year meeting (to be scheduled). This evaluation will have one of two possible outcomes:

1. The evaluated writer is invited to become a Member of NMI, entitled to all the rights and privileges thereof.

2. The evaluated writer is not invited to become a Member of NMI, in which case:

- The evaluated writer is invited to repeat the Core Curriculum; or

- The evaluated writer is encouraged to seek further education in music, playwrighting, lyric writing (including basic poetics); or

- The evaluated writer is advised that there is not a good fit between his or her approach to the crafts and NMI.

FRINGE CURRICULUM

In the first year of Membership (after successfully completing the Core Curriculum and a 15 Minute Musical), writers can spend a season in the FRINGE CURRICULUM, working on a 30-40 minute, under a set of deadlines. You will write three drafts of your musical between September and April, with the possibility of having your show produced at the Hollywood Fringe Festival in June.

Meetings will consist of one group session per month (on a Saturday morning from 10am to 2pm) and various Monday evening sessions which make use of the members of the Academy Repertory Company to present the material and allow for ongoing feedback.

Teams will be formed prior to the first session in September (to give a head start on the outline); and will be expected to meet all the writing deadlines for the phases of the project. All teams that are able to turn in a First Draft by the January session will be guaranteed a (low-budget) production as part of the Hollywood Fringe Festival in June. (Each Fringe production evening will likely consist of two 30-40 minute musicals in a 90-minute Fringe presentation slot.)

February and March sessions will be dedicated to the presentations of Second Drafts. A final draft will be due in April; it’s this draft which will go into rehearsal.

Details about the process and the schedule are below.

Collaborators: Pick your own collaborators, or let us help you find a team…your choice. Ideally, start teaming up now around the pitches that were made by your colleagues in January.

Timeframe: Monthly meetings and assessment sessions from September through April. Rehearsals in May for June productions at the Hollywood Fringe Festival.

Topic: You may write about anything you like – even a shorter version of a full-length musical you’re contemplating for the future – but we are encouraging the use of stories/ideas in the public domain so you are starting with a solid structure.

Parameters: No parameter requirements. (You’re welcome.)

Filming: YES!, we’ll film these shows. We’ll be casting non-Union actors.

Guaranteed Production: We’ll guarantee production for every team that finishes a VIABLE First Draft by the January deadline. NOTE that NMI reserves the right to decide what “viable” means, but essentially it means a show that we can all be proud of.

Length: 30-40 minutes…but we won’t be sticklers…so long as we can get at least two shows into a single 90-minute Fringe slot.

Cast size: 4-10. We will likely cast each show separately, to include as many actors as we can!

Props/costumes. YES! You can have props and costumes if you provide them, and they take fewer than five minutes of set-up time.

Copies: Each team would also be responsible for copies for each of the drafts.

Tickets: Each writer would be responsible for selling a minimum of ten tickets to your final production (likely $15 per ticket).

Volunteer Shifts: You are obligated to help out a minimum of two shifts hours during production months of May and June: ushering, box office, running lights, etc.

Authors’ Royalties. Authors share 6% of the gross box office receipts.

Future Rights. You own your show; we won’t be expecting any ownership in these shows.

The fee for the Fringe Curriculum is $800 per year. (Paid in quarterly installments of $200.) NOTE that this applies to ONE project per member. If you elect to participate in more than one musical, you will need to pay a higher fee. (It won’t necessarily be double for two projects - we will have to assess the number of people doing multiple projects and figure out the impact on our over-all budget before deciding the exact fee.)

GENERAL MEMBERSHIP

In the second year (and beyond) of membership at NMI, a writer is considered to be a GENERAL MEMBER. General Members have two main opportunities: the Monday Night Reading; and One-on-One Dramaturgy sessions.

MONDAY NIGHT READING: General Members have the chance to sign up for a MONDAY NIGHT READING slot for whatever new musical you are working on. Some of the MONDAY NIGHT READING slots come with 3 rehearsals; some come with 2; some come with 1; and some are just cold readings. These rehearsals will also take place on Monday evenings, and we will provide you with sight-singers for your readings from the Academy Repertory Company (ARC) and guests. You will be required to provide a cast list at least one month prior to your first scheduled rehearsal; and to provide copies for your cast, director, and musical director. You can invite whatever guests you would like to your presentation; and we will also live-stream and record your presentation.

ONE-ON-ONE-DRAMATURGY: General Members have the chance to sign up for one 90 minute dramaturgical session per month with a member of the NMI staff. These meetings can be set up on your own schedule; and for whatever project you are working on. They can take place in person or via video conference.

The fee for General Membership is $500 per year. (Paid in quarterly installments of $125.)

Non-Member Collaborators. In General Membership projects, Members may collaborate with non-members. Non-members must pay a $200 annual fee to compensate NMI for the feedback they receive at our sessions. Members are strongly encouraged to ask their non-member collaborators to join NMI at the appropriate level. Non-members may audit General Workshop, but may not participate in discussion (even of their team’s project).

VOLUNTEER HOURS

All active Members of NMI (General and Fringe) are expected to contribute a minimum of four volunteer hours each semester. (To NMI, First Semester is September 1 through January 15. Second Semester is January 16 through June 25.)

We will make every effort to create volunteer projects that match your schedule, interest, and skills. Each semester, a list of volunteer projects will be offered on the website. To sign up for a volunteer task, go to the Member Homepage and find the “Your Volunteer Status” section. If you don’t find a task there that matches your schedule or interest, speak up! and help us create another project which is more appealing to you. The last thing we want to do is make you unhappy with a bunch of work that is odious to you.

Hours may not be carried over from one semester to the next. That is, if you’ve put in 6 volunteer hours in the first semester of the year, you can’t carry over 2 hours to the second semester. The “clock” is re-set each semester. Attendance in workshop or in committee meetings does not count toward volunteer hours.

Failure to meet these minimum expectations will cause you to be considered “not in good standing,” which will automatically disqualify you for participation in readings, productions, festivals and showcases. If you are not in good standing, we will revoke your rights to all other NMI privileges, such as access to the website, access to the ARCtors, NMI events, online newsletter, free theatre tickets, NMI passes to industry workshops (such as ASCAP/Disney), etc. You may restore your status to “member in good standing” the following semester by paying all expected dues and completing all required volunteer hours.

Buying Out Your Hours. If you prefer to contribute money instead of hours, you may contribute $50 for each hour you would like NMI to consider as “approved.” For example, you may contribute $200 to NMI instead of volunteering four hours that semester. You may contribute $400 and buy out your volunteer hours for the whole year. This hourly rate may seem extraordinarily high, and it is. We really want your help, not your money; we’re hoping you’ll prefer to help us, rather than pay us. In doing so, NMI wishes to foster a collaborative spirit which encourages participation, cooperation and a feeling of ownership.

INACTIVE MEMBERSHIP

Members may elect temporary Inactive Status by paying a fee of $100 per year ($25 per quarter). This is a great way to remain on the NMI Roster, and to support the organization, even if you do not currently have any active projects. Inactive members must reapply annually to retain Inactive Status. Inactive members may attend workshop sessions but may not present material, and may not receive feedback of any kind. Inactive members may not collaborate with active members for the $200 fee (and thus be treated as non-members). Inactive Members receive member discounts and the weekly e-newsletter, but no additional benefits of membership (such as discounted rehearsal room rental).

THE SANDBOX

The Sandbox is an opportunity offered to all writers - not just members of NMI. It is designed as an individualized workshop for a specific writing team with a specific project. NMI General Members may choose to take advantage of the Sandbox if they find they are not able to commit to the specific schedule of the Full Length Curriculum or General Workshop.

Sandbox participants are not in a setting with other projects; Sandbox projects have sole focus in their time with staff members.

In your twelve months of membership in the Sandbox, you’ll have nine 2-hour work sessions with your selected staff member to work on such topics as outlining, song-spotting, presentation of scenes and songs, marketing advice, budgeting, feedback, music preparation, song structure, consultation about demo recordings, etc. - depending on the needs of you and your musical at any given moment in the process. Design your own schedule …choose two from column A, three from column B, etc. — whatever’s best for you and your musical…at your pace. Use your nine sessions however you like. Online or in-person.

The fee for the Sandbox is $1500 per project, which can be paid in three installments of $500.



THE MECHANICS HAND-OUT


TO ACCOMPANY THE: GETTING TO KNOW US ASSIGNMENT

New Musicals Inc. (including our curriculum branch - ANMT) is a bustling place, with a lot going on - and a lot to remember. Below you find some nuts-and-bolts information about how to navigate various elements of our website.

HOW TO LOG ON TO THE WEBSITE:

1. Go to www.nmi.org

2. Click the “LOGIN” menu item on the far right of the top menu.

3. Enter your Username and Password in the login form on the right-hand side of the login page, and click the login button.

NOTE: If you have not logged onto the site before, your username will likely be your last name followed by your first name (i.e., Jane Smith would have the username SmithJane). Your temporary password is likely to be “nmi”. If this login information doesn’t work for you, try clicking the LOST YOUR PASSWORD link on the login page and requesting a password reset. If you are still not able to get into the site, please email us at admin@nmi.org right away and we will help you out.

4. After successfully logging in, you will find yourself on the NMI Member Account Home Page. PLEASE CHECK OUT YOUR NMI ACCOUNT HOME PAGE – there is LOTS of GREAT INFORMATION there, and links to such things as the Member Roster, general Member Documents, Member Payment Info (you won’t have a payment record yet - nobody in Core will get charged until after membership decisions are made in October); and the Weekly Email and Member News items.

Once you have found your NMI Member Account Home Page - there are THREE PAGES you will want to check out right away:

1. Under the heading PERSONAL PROFILE, click the button that reads UPDATE YOUR PROFILE INFO. From here you can click UPDATE YOUR LOGIN/CONTACT INFO to update your name, email address and contact info; as well as update a picture and other information about yourself, including your pronouns.

2. Under the heading CORE CURRICULUM AUDITION APPLICATION, you will see a reference to your application, and a link to VIEW/EDIT SUBMISSION. Click that, and when you get to your application page, take a look at the toggles to the right-hand side of the page and open those up and have a look at the info. The toggles will tell you a lot of useful info about the audition process including: what to expect for the September and October sessions; info on the Craft Labs that are part of the program; a schedule of dates for the whole season; a listing of SCRIPTS you will want to read prior to each session (with links to the PDF documents) – including the script that you will want to have read prior to the September sessions so you will be ready for the first assignment; instructions for video conferencing; info and a link to a sample of the type of piano/vocal score we require from composer participants; and info on the fees for the season (which don’t kick in until AFTER the auditions).

2. Under YOUR PROJECT PAGES, click on the link to the Core Curriculum Home Page where you will find lots more info – in particular about the other participants who will be joining you for the audition process (HINT: Check out the “BIOS/INFO” tab to see pictures, bios, and other info about your fellow auditioners). Make sure to check out all the tabs, toggles, and links of this page - as it will be your home base for the rest of the season if you wind up staying with us after October.

NOTE: For some useful video tutorials on how to login, as well as how to update your contact info and input your picture and bio, check out the VIDEO TUTORIALS at http://nmi.org/website-tutorial-videos/



SYLLABUS – MUSIC LAB HAND-OUT


TO ACCOMPANY THE: THE CRAFT LABS ASSIGNMENT

MUSIC LAB SYLLABUS

Welcome to the Music Lab! The online lab covers six major topics to assist composers in preparing a score for production. Each unit in the lab consists of short videos on various topics, a short quiz, and three or four assignments to apply the concepts. The assignments are structured to be completed in a back-and-forth manner with the instructor.

To complete the Music Lab for the purposes of the ANMT Core Curriculum, please do the following:

       - View all the videos.

       - Read all the handouts.

       - Take all the tests.

       - Read all the exercises; though executing them is voluntary.

       - Complete and SUBMIT all of the required Music Lab assignments (outlined below).

You will receive feedback on your submitted assignments from the Music Lab Evaluator.

NOVEMBER 1 DEADLINE:

Unit One: Introduction


Assignments:

1. Introduction

2. Songwriting

3. Recordings

4. Score Selection

Unit Two: Voice Types

Assignments:

1. Female Vocal Chart

2. Male Vocal Chart

3. Exploring the NMI Glossary

December 1, Deadline:

Unit Three: Writing for the Voice


Assignments:

1. Meter in Lyrics

2. Lyric Analysis

3. Setting Lyrics: A Sections

4. Setting Lyrics: Subsequent Sections

January 1, Deadline:

Unit Four: Writing for Piano


Assignments:

1. Piano Modelling

2. Harmonization

3. Structure and Substitution I

4. Structure and Substitution II

February 1, Deadline

Unit Five: Underscoring


Assignments:

1. Underscoring Modelling

2. Underscoring a Dramatic Scene

3. Underscoring a Comedic Scene

March 1, Deadline

Unit Six: Formatting


Assignments:

1. Musical Score Opening Pages

2. Formatting Songs & Underscoring

3. Integrated Script & Score

NOTE: March 15th is the absolute last date you can turn in assignments; the Music Lab must be completed no later than March 15th in order for you to be considered as a composer for the 15 Minute Musicals.



SYLLABUS – LYRIC LAB HAND-OUT


TO ACCOMPANY THE: THE CRAFT LABS ASSIGNMENT

Lyric Lab Syllabus

The Lyric Lab is made up of seven units. Please follow the order of the units as listed on this syllabus as many of the topics build upon previous material. Most units have a video, a handout, a test, and an assignment. Some units have multiples of some of these, and some units have optional exercises.

    Unit #0: Overview

    Unit #1: Progressions

    Unit #2: Prosody & Scansion

    Unit #3: Scansion Subtleties

    Unit #4: Rhyme

    Unit #5: Formatting

    Unit #6: Song Spotting

November 1 deadline:   OVERVIEW & PROGRESSIONS

In the Overview Unit, you will be introduced to some of the goals of the Lyric Lab. There is also a short video about writing in a structure, and an introduction to the AABA song structure.

Handouts: Syllabus, Song Structure I, Song Structure 2 - Which Structure to Choose?, AABA Structure

Videos: Overview, Song Structure in Musical Theatre, AABA Structure

Tests: Overview of Structure Test, AABA Structure Test

Assignments: Overview Assignment, Song Structure Assignment

The Progressions Unit introduces the concept of progression in refrains. Specific progressions discussed are:

Problem/Solution

Viewpoint

Time Progression - Past/Present/Future

Time Progression - The Calendar or the Clock

Pronoun Progression

Geography Progression

Included is an extended session of optional examples, comparing structures in classic musicals to contemporary musicals.

Handouts: Progression, Progression Examples

Videos: Progressions, Progression Examples

Exercises: Progression Exercises

Tests: Progression Test

Assignment: Progression Assignment

December 1 deadline:   PROSODY & SCANSION

This unit introduces you to the study of prosody, and the fundamentals of poetic scansion. Topics in this unit include:

Bad Prosody

Poetic Meter (v. Spoken Meter and Musical Meter)

Repairing Prosody

Vocabulary of Scansion

The Reason for Scansion

Scansion Techniques

Handouts: Prosody, Scansion

Videos: Prosody, Scansion, Terms You’ll Never Need to Know, Scansion Exercises

Exercises: Scansion Exercises

Tests: Prosody Test, Scansion Test

Assignments: Prosody Assignments 1, 2, and 3 (Prosody Assignment #4 is Optional); Scansion Assignment

January 1 deadline:   SCANSION SUBTLETIES & RHYME

The Scansion Subtleties Unit covers some finer points of Scansion, including some problematic situations, with a look ahead at substitution and irregular meter. The video demonstrates scansion of some of the verses you will be scanning, and an explanation of some anomalies and how you might think about them.

Handouts: Scansion Subtleties

Videos: Scansion Subtleties

Tests: Scansion Subtleties Test

Assignment: Scansion Subtleties Assignment

The Rhyme Unit covers rhyme in musical theatre. Topics included in this unit include:


Single Rhyme

Double Rhyme

Triple Rhyme

Near Rhymes

Rhyme in Pop songs v. Musical Theatre songs

The Importance of Rhyme in Musical Theatre

Handouts: Rhyme, Marking Rhyme Schemes

Videos: Rhyme, Marking Rhyme Schemes, The Importance of Rhyme; Rhyme Exercises

Exercises: Rhyme Exercises

Tests: Rhyme Test 1, Rhyme Test 2

Assignments: Rhyme Assignment, Refrain Structure Review Assignment

February 1 deadline:   FORMATTING

Preparing a manuscript for rehearsal/workshop, and the differences in the manuscripts sent to producers and theatres.

Formatting script and score for producers

The integrated script and score for rehearsals

Mechanics of preparing an integrated script and score

Handouts: Format Guidelines

Videos: Formatting Script and Score, Formatting Guidelines Annotations

Exercises: Formatting Exercises

Assignment: Formatting Assignment

March 1 deadline:   SONG SPOTTING

This unit discusses the purpose of songs in musical theatre:


Exposition

Conflict

Action

Character Changes

One of the videos in this unit is dedicated solely to a discussion about songs whose purpose is some aspect of character:


Self-discovery

Decision-making

Resolve Conflict

Enflame Conflict

The unit includes with a brief discussion about songs which are not driven by story, and concludes with a wild song-spotting session with Scott.

Handouts: Song Spotting, Character Change, Spotting Checklist, Spotting Session

Videos: Song Spotting, Character Change, Songs Not Driven by Story, Spotting Checklist, A Spotting Session with Scott

Exercises: Spotting Exercises

Assignment” Spotting Assignment: In the final assignment, you are asked to spot songs possibilities for a play which doesn’t yet have songs.

NOTE: March 15th is the absolute last date you can turn in assignments; the Lyric Lab must be completed no later than March 15th in order for you to be considered as a lyricist for the 15 Minute Musicals.



SYLLABUS – BOOK LAB HAND-OUT


TO ACCOMPANY THE: THE CRAFT LABS ASSIGNMENT

Book Lab Syllabus

The Book Lab is designed as an introduction to writing the book of a musical while also outlining the collaborative steps involved in creating a new musical with the whole team. The book of a musical is not just the spoken words, but encompasses the entire story of the musical. The Bookwriter is officially responsible for the writing of the book, but the entire writing team needs to collaborate on the story. The collaborative process is explored through six units.

November 1 deadline:

Unit 1: THE IDEA


Assignment #1: Action Loops

Assignment #2: Conflict/Adaptation

December 1 deadline:

Unit 2: THE OUTLINE


Assignment #1: Sample Outline

Assignment #2: Character Worksheet

January 1 deadline:

Unit 3: THE ROUGH DRAFT


Assignment #1: Stranger/Neighbor Exposition

Assignment #2: Character Diction

Unit 4: ADDING SONGS

Assignment #1: The New York Song

February 1 deadline:

Unit 5: REVISIONS


Assignment #1: Ten Minute Play

March 1 deadline:

Unit 6: FINISHING TOUCHES


Assignment #1: Pitch

NOTE: March 15th is the absolute last date you can turn in assignments; the Book Lab must be completed no later than March 15th in order for you to be considered as a bookwriter for the 15 Minute Musicals.



STUDENT SCHOLARSHIP APPLICATION HAND-OUT


TO ACCOMPANY THE: STUDENT SCHOLARSHIP APPLICATION ASSIGNMENT

NMI CORE Curriculum Scholarship Application

The Student Discount for CORE Curriculum is a scholarship funded through the Helen & Jose Colton Foundation. It’s a need, merit, and discipline-based scholarship that NMI is offering to students currently in college or recently graduated.

Need as in financial need due to student debt, college tuition, or other school related expenses. Merit as in skill, talent, and passion to learn demonstrated in the October sessions. Discipline as in what you “do” for Core. This may affect how many composers, writers, and lyricists get a scholarship.

Please fill out the below information to apply for this scholarship.

Name:

Email:

Recent College and Major (specify undergrad/graduate):

Year Graduated:

Discipline(s) (Bookwriter, Lyricist, Composer):

Current Employer:

Price Breakdown:

In CORE we ask you to pay quarterly or monthly payments for taking our classes which include your discipline lab(s). CORE Curriculum participants generally pay in four installments of $375 (paid October 15, November 15, January 15, and March 15). This includes all monthly collaborative assignments, ONE Craft Lab (Book, Music, or Lyrics) and the production of a 15 Minute Musical at the end of the season.

For the Student Discount, we are offering the option to pay SIX installments

         (Oct/Nov/Dec/Jan/Feb/Mar)

If the full amount were paid over six installments, it would be $250 per month.

Our question to you would be: How close to $250 per month would you be able to afford?

$___________

PLEASE ALSO ANSWER THE FOLLOWING QUESTIONS:

Why do you want to learn to write musical theatre?

Why do you like collaboration? What about it? ?

Do you see Musical Theatre Writing as a potential career path moving forward? ?

What are some of your goals for this workshop? ?

What are some financial strains on your life right now? ?

Why would this scholarship benefit you in taking this class? ?

Please email this form AND your artist resume to outreach@nmi.org

With the subject line “Scholarship Application” by September 30th to be considered.

Decisions will be made after the CORE Curriculum October Presentations, and Scholarship recipients will be notified within TWO DAYS of the October Sunday session.

Thank you for your information and time!



SONG SPOTTING WORKSHEET – EXAMPLE HAND-OUT


TO ACCOMPANY THE: ADAPTATION – PART 2 ASSIGNMENT

SONG SPOTTING WORKSHEET - EXAMPLE

Working Title(s) of the Song: Believe in the Small; The Small and Mighty; Believe in Me; Deep Down Inside; Look at Me

Scene Number: Act Two, Scene Four

Character(s) singing the song: Chicken Little

Page number: 2-4-10

1-3 sentence narrative version of the lyric:

Chicken Little complains that no one pays any attention to him because he’s so small. He knows he can help people, if they’d just give him a chance. He contemplates going home and giving up, but pulls himself up by his bootstraps and vows to carry out his rescue plan anyway.

First line of dialogue which this song replaces:
I could’ve helped, I really really could’ve.

Last line of dialogue which this song replaces:
I pick…rescue!

Purpose: Character (decision)

Suggested Structure: AABA

Suggested Progression: Problem/Solution

Description of the purpose of each stanza (i.e., each A, each B or C)

First A: Problem: No one believes in me because I’m so small.

Second A: Elaboration: Even though I have a plan, no one’ll give me a chance.

B-section: Contemplated Solution: I could give up and go home.

Final A: Action: Chicken Little to the rescue! (climbs castle wall)

Do you think some dialogue will be included during this song? No.



SONG SPOTTING WORKSHEET HAND-OUT


TO ACCOMPANY THE: ADAPTATION – PART 2 ASSIGNMENT

SONG SPOTTING WORKSHEET

Preparation

Before filling out your Song Spotting Worksheets, please consider the following:

The purpose of a song in a musical:

Reveal a truth

Keep the story going throughout the song, to the very last bar.

Point the story forward

Coincide with the emotional climax, the story climax, and the musical climax of a scene

Something must change during a song:

1. Exposition - Someone knows something more than at the song’s beginning.

2. Action - characters do things, to change things.

3. Conflict - could be heightened or resolved.

4. Character - is changed through the arc of a song.

Possibilities for Character Change During a Song:

Joining forces

Self-discovery

Resolve a confrontation/conflict

Enflame a confrontation/conflict

Decision-making

A Checklist To Aid in Spotting A Song

1. Which character has the highest emotional stakes in the scene? Generally that’s the character who’ll be the most likely candidate for a song.

2. What is the main action of the scene? Can you encompass that action in a song structure like AABA or ABAC?

3. Where does a character take action, or make a decision? Can that be a song?

4. Where’s the strongest conflict in the scene? What if that became a song?

5. What is the topic of the song? Songs should be about one thing.

6. Find a moment in which you can push your character to the point beyond which he cannot speak; if there isn’t one in the scene yet, re-examine the need for the scene. You might need to increase the stakes, or make his force of opposition stronger in order to drive him beyond the point of speech.

7. Does your song create a strong sense of “What’s going to happen next?” at its conclusion? (If not, go back to the drawing board.)

8. Can music alone tell the story (that is, must you have lyrics or dialogue)?



SOME SAMPLE LYRICS HAND-OUT


TO ACCOMPANY THE: SOME SAMPLE LYRICS ASSIGNMENT

I Remember Sky – from the TV special “Evening Primrose” (1966)

James Goldman (book) Stephen Sondheim (lyrics and music)

Written for television, the musical focuses on a poet who takes refuge from the world by hiding out in a department store after closing. He meets a community of night people who live in the store. He falls in love with a beautiful young girl named Ella – who hasn’t seen the outside world in many years and can only remember it by comparing it to the images from within the store. Notice how skillfully and purposefully he elongates the A sections as the song progresses.


I remember sky
It was blue as ink
Or at least I think
I remember sky

I remember snow
Soft as feathers
Sharp as thumb tacks
Coming down like lint
And it made you squint
When the wind would blow

And ice, like vinyl, on the streets
Cold as silver, white as sheets
Rain like strings
And changing things
Like leaves

I remember leaves
Green as spearmint
Crisp as paper

I remember leaves
Dark as coat racks
Spread like broken umbrellas

And parks and bridges, ponds and zoos
Ruddy faces, muddy shoes
Light and noise
And bees and boys
And days

I remember days
Or at least I try
But as years go by
They’re a sort of haze

And the bluest ink
Isn’t really sky
And at times I think
I would gladly die

For a day of sky


LISTEN

“Alexander Hamilton” from Hamilton

by Anthony Ramosand Lin-Manuel Miranda

This is the opening number from the musical Hamilton - an intricate mix of rap and melody, using more euphony than pure rhyme, but none of this is accidental or sloppy.


How does a bastard, orphan, son of a whore
And a Scotsman, dropped in the middle of a forgotten spot
In the Caribbean by providence impoverished
In squalor, grow up to be a hero and a scholar?
The ten-dollar founding father without a father
Got a lot farther by working a lot harder
By being a lot smarter
By being a self-starter
By fourteen, they placed him in charge of a trading charter
And every day while slaves were being slaughtered and carted away
Across the waves, he struggled and kept his guard up
Inside, he was longing for something to be a part of
The brother was ready to beg, steal, borrow, or barter
Then a hurricane came, and devastation reigned
Our man saw his future drip, dripping down the drain
Put a pencil to his temple, connected it to his brain
And he wrote his first refrain, a testament to his pain
Well, the word got around, they said, this kid is insane, man
Took up a collection just to send him to the mainland
Get your education, don’t forget from whence you came
And the world is gonna know your name
What’s your name, man?
Alexander Hamilton
My name is Alexander Hamilton
And there’s a million things I haven’t done
But just you wait, just you wait
When he was ten his father split, full of it, debt-ridden
Two years later, see Alex and his mother bed-ridden
Half-dead sittin’ in their own sick, the scent thick
And Alex got better but his mother went quick
Moved in with a cousin, the cousin committed suicide
Left him with nothin’ but ruined pride, something new inside
A voice saying, “Alex, you gotta fend for yourself”
He started retreatin’ and readin’ every treatise on the shelf
There would have been nothin’ left to do for someone less astute
He woulda been dead or destitute without a cent of restitution
Started workin’, clerkin’ for his late mother’s landlord
Tradin’ sugar cane and rum and all the things he can’t afford
Scammin’ for every book he can get his hands on
Plannin’ for the future see him now as he stands on
The bow of a ship headed for the new land
In New York you can be a new man
In New York you can be a new man (just you wait)
In New York you can be a new man (just you wait)
In New York you can be a new man
In New York, New York
Just you wait
Alexander Hamilton
Alexander Hamilton
We are waiting in the wings for you
Waiting in the wings for you
You could never back down
You never learned to take your time
Oh, Alexander Hamilton
Alexander Hamilton
When America sings for you
Will they know what you overcame?
Will they know you rewrote your game?
The world will never be the same, oh
The ship is in the harbor now
See if you can spot him (just you wait)
Another immigrant comin’ up from the bottom (just you wait)
His enemies destroyed his rep America forgot him
We, fought with him
Me, I died for him
Me, I trusted him
Me, I loved him
And me, I’m the damn fool that shot him (shot him, shot him)
There’s a million things I haven’t done
But just you wait
What’s your name, man?
Alexander Hamilton


LISTEN

“Ya Got Trouble” from THE MUSIC MAN

by Meredith Wilson

This is from the 1957 musical THE MUSIC MAN - the musical theatre historical pre-cursor to rap?!

Well ya got trouble, my friend
Right here I say trouble right here in River City.
Why sure, I’m a billiard player, certainly might proud,
I say I’m always mighty proud to say it.
I consider that the hours I spend
With a cue in my hand are golden.
Help you cultivate horse sense and a cool head and a keen eye.
‘Jever take’n try to give an iron clad leave to yourself
From a three-rail billiard shot?
But just as I say, it takes judgment,
Brains and maturity to score in a balkline game
I say that any boob kin take ‘n’ shove a ball in a pocket.
And I call that sloth!
The first big step on the road to the depths of degrega–
I say, first it’s a little ah, medicinal wine from a teaspoon
Then beer from a bottle.
And the next thing you know, your son is playing fer money
In a pinchback suit and list’nin to some big outta town jasper
Hearing him tell about horserace gamblin.
Not a wholesome trottin’ race, no!
But a race where they se’ down right on a horse!
Like to see some stuck-up jockey boy settin’ on Dan Patch?
Make your blood boil?
Well I should say.
Now friends, lemme tell you what I mean.
Ya got one, two, three, four, five, six pockets in a table.
Pockets that mark the difference between a gentleman and a bum
With a capital B, and that rhymes with P, and that stands for pool.
And all week long your River City youth’ll be frittern away, I say,
Your young men’ll be frittern.
Frittern away their noontime, suppertime, choretime too!
Get the ball in the pocket! Never mind gettin’ dandelions pulled
Or the screen door patches or the beefsteak pounded.
Never mind pumpin’ any water till your parents
Are caught with the cistern empty on a Saturday night,
And that’s trouble, oh yes, ya got lots n’ lots ‘a trouble.
I’m thinkin’ of the kids in the knickerbockers,
Shirttails, young ones, peekin in the pool hall window after school,
Ya got trouble, folks. Right here in River City.
Trouble, with a capital “T” and that rhymes with “P”
And that stands for pool!
Now I know all you folks are the right kind of parents,
I’m gonna be perfectly frank.
Would ya like to know what kinda conversation
Goes on while they’re loafin’ around the hall?
They’ll be tryin’ out Bevo, tryin’ out Cubebs;
Tryin’ out Tail or Mades, like cigarette fiends.
And braggin’ all about how they’re gonna cover up
A telltale breath with Sen-Sen.
One fine night they leave the pool hall
Headin’ for the dance at the Arm’ry,
Libertine men and scarlet women and ragtime,
Shameless music that’ll drag your son and your daughter
To the arms of a jungle animal instinct mass-steria!
Friends, the idle brain is the devil’s playground.
Ya got trouble! Right here in River City!
With a capital “T” and that rhymes with “P”
And that stands for pool.
We’ve surely got trouble! Right here in River City!
Gotta figger out a way to keep the young ones moral after school.
Our children’s children gonna have trouble.

Mothers of River City! Heed the warning before it’s too late. Watch for the tell-tale signs of corruption. The minute your son leaves the house, does he rebuckle his knickerbockers below the knee? Is there a nicotine stain on his index finger? A dime novel hidden in the corn crib? Is he starting to memorize jokes from Captain Billy’s Whiz Bag? Are certain words creeping into his conversation? Words like “swell” and “so’s your old man”? Well, if so, my friends….

Ya got trouble. Right here in River City.
With a capital “T” and that rhymes with “P”
And that stands for pool.
We’ve surely got trouble! Right here in River City!
Remember the Main, Plymouth Rock, and the Golden Rule.
Our children’s children gonna have trouble.
Oh, we got trouble. We’re in terrible, terrible trouble.
That game with the fifteen numbered balls is the devil’s tool!
Oh yes, we’ve got trouble, trouble, trouble.
(Oh yes we got trouble here, we got big big trouble.)
With a “T” (with a capital “T”) Gotta rhyme it with “P”
(That rhymes with “P”) and that stands for pool!

LISTEN



SAMPLE OUTLINE FORMAT HAND-OUT


TO ACCOMPANY THE: ADAPTATION – PART 1 ASSIGNMENT

SAMPLE OUTLINE FORMAT

TITLE: THE TITLE OF YOUR SHOW

COLLABORATORS:

Book by Joe Bookwriter

Music by Jill Composer

Lyrics by Nancy Lyricist

CHARACTERS:

Lead Character’s Name – (Actor playing role, if applicable)

Another Character’s Name – (Actor playing role, if applicable)

Another Character’s Name – (Actor playing role, if applicable)

Etc.

Who is your main character? – Name of your main character

What does he want? – A short description of your lead character’s main goal or want.

What stops him from getting it? – a short description of the obstacles and/or conflicts preventing your lead character from achieving his goal and/or want.

OUTLINE

The first paragraph of your outline will detail how your story begins, establish your lead character, and explain the lead character’s main goal. Remember that your outline should be a present tense telling of the action of the story. Stick to what the audience can see and hear, not what you are hoping they will imagine or infer.

The second paragraph of your outline will explain the steps your lead character takes to accomplish his/her goal, and the obstacles (or conflict or force of opposition) that prevents him/her from being successful. Remember that these events should be connected by cause and effect, and the tension/conflict should be increasing throughout the story.



The last paragraph of your outline will tell how your lead character eventually accomplishes or does not accomplish his/her goal. This could also be a place to state your main theme, and/or to encapsulate the emotional arc of your lead character (i.e., how is your lead character different NOW from what he/she was at the beginning of the story?).



PRESENTING YOUR WORK HAND-OUT


TO ACCOMPANY THE: COLLABORATION ASSIGNMENT

Each month, you will need to not only complete your collaborative assignments, but you will need to plan a way to PRESENT that material in the room.

Please remember that the feedback will be about the WORK – not about the presentation or the performances.

UPLOADING YOUR WORK: For each assignment, you will find a section of the Core Curriculum Home Page where you can UPLOAD your work. If there is more than one assignment in a month, then there will be more than one place to upload your work. Please make sure to upload your work under the correct assignment.
Each person in your team will be able to upload up to THREE files for EACH assignment.
If you have more than three files representing your work for a specific assignment, you can either COMBINE those files; or you can ask one of your team-mates if they can upload one of your files for you.
It is important to upload your work because this is how we will all be able to VIEW or LISTEN to your work, and so that we can avoid making you print out a lot of copies for the room.

PRESENTING YOUR WORK: There is no one way or “right” way to present your work, but you and your team should plan in advance so you are ready when it is time for you to present.

If all of your team-members are participating via video – you should choose one person to SHARE their screen so we can all see the material; and also share their SOUND so that any sound files can be played.

If you have at least one team-member in the room, and you want to present LIVE – you are welcome to use our piano – but we won’t be providing a pianist. If you want to have someone in the room sing live to a track – make sure you are prepared to play the track in the room. (We will have a small speaker available that can interface with the regular headphone jack on a phone or laptop.)

NOTE that given the built in sound delay inherent in video conferencing – it is not possible to have the source of the accompaniment in one location, and the singer in another – they will be out of sync. You need to have the source of the music and the singer both in the SAME PLACE.

You are welcome to make a down-and-dirty demo recording to play for us; but make sure that one of your teammates knows how to “share computer sound” so that we can all hear it.

NOTE: there is no need to spend a lot of time and effort creating an orchestration for your track. Please spend your valuable time on creating the song itself – not on orchestrating it.

If you prepare a track that has the melodic line being played by a reed instrument (oboe or clarinet) – you can ask someone like me – or other sight-singing actors – to sight-sing it for you in the room with no rehearsal.

PAPER COPIES: Everyone will upload their materials to the website – so we can all see the materials – whether in the room or via video – without printing anything out. That being said – if you are going to be in the room and you can bring a couple of printed copies for me and the feedback guest – that would be appreciated but not required.

All in-person participants are encouraged to bring a device so that you can sign on to the Zoom meeting to view materials; and also to take part in the online chat during the session. NOTE: you must join the meeting with NO SOUND and NO VIDEO.

If you are designated by your team to present materials on the screen – and you don’t already have experience – spend some time figuring out how to SHARE your screen in Zoom – and familiarize yourself with the tick-box option to also share your SOUND – the quality of the sound will be much better if you do this.



KARL PAULNACK’S WELCOME ADDRESS HAND-OUT


TO ACCOMPANY THE: OVERNIGHT ASSIGNMENT

The full text of a Welcome Address given to the incoming students at Boston Conservatory

given by Karl Paulnack, pianist and director of music division at Ithaca College

One of my parents’ deepest fears, I suspect, is that society would not properly value me as a musician, that I wouldn’t be appreciated. I had very good grades in high school, I was good in science and math, and they imagined that as a doctor or a research chemist or an engineer, I might be more appreciated than I would be as a musician. I still remember my mother’s remark when I announced my decision to apply to music school-she said, “you’re WASTING your SAT scores.” On some level, I think, my parents were not sure themselves what the value of music was, what its purpose was. And they LOVED music, they listened to classical music all the time. They just weren’t really clear about its function. So let me talk about that a little bit, because we live in a society that puts music in the “arts and entertainment” section of the newspaper, and serious music, the kind your kids are about to engage in, has absolutely nothing whatsoever to do with entertainment, in fact it’s the opposite of entertainment. Let me talk a little bit about music, and how it works.

The first people to understand how music really works were the ancient Greeks. And this is going to fascinate you; the Greeks said that music and astronomy were two sides of the same coin. Astronomy was seen as the study of relationships between observable, permanent, external objects, and music was seen as the study of relationships between invisible, internal, hidden objects. Music has a way of finding the big, invisible moving pieces inside our hearts and souls and helping us figure out the position of things inside us. Let me give you some examples of how this works.

One of the most profound musical compositions of all time is the Quartet for the End of Time written by French composer Olivier Messiaen in 1940. Messiaen was 31 years old when France entered the war against Nazi Germany. He was captured by the Germans in June of 1940, sent across Germany in a cattle car and imprisoned in a concentration camp. He was fortunate to find a sympathetic prison guard who gave him paper and a place to compose. There were three other musicians in the camp, a cellist, a violinist, and a clarinetist, and Messiaen wrote his quartet with these specific players in mind. It was performed in January 1941 for four thousand prisoners and guards in the prison camp. Today it is one of the most famous masterworks in the repertoire.

Given what we have since learned about life in the concentration camps, why would anyone in his right mind waste time and energy writing or playing music? There was barely enough energy on a good day to find food and water, to avoid a beating, to stay warm, to escape torture - why would anyone bother with music? And yet - from the camps, we have poetry, we have music, we have visual art; it wasn’t just this one fanatic Messiaen; many, many people created art.
Why? Well, in a place where people are only focused on survival, on the bare necessities, the obvious conclusion is that art must be, somehow, essential for life. The camps were without money, without hope, without commerce, without recreation, without basic respect, but they were not without art. Art is part of survival; art is part of the human spirit, an unquenchable expression of who we are. Art is one of the ways in which we say, “I am alive, and my life has meaning.”

On September 12, 2001 I was a resident of Manhattan. That morning I reached a new understanding of my art and its relationship to the world. I sat down at the piano that morning at 10 AM to practice as was my daily routine; I did it by force of habit, without thinking about it. I lifted the cover on the keyboard, and opened my music, and put my hands on the keys and took my hands off the keys. And I sat there and thought, does this even matter? Isn’t this completely irrelevant?

Playing the piano right now, given what happened in this city yesterday, seems silly, absurd, irreverent, pointless. Why am I here? What place has a musician in this moment in time? Who needs a piano player right now? I was completely lost.

And then I, along with the rest of New York, went through the journey of getting through that week. I did not play the piano that day, and in fact I contemplated briefly whether I would ever want to play the piano again. And then I observed how we got through the day.

At least in my neighborhood, we didn’t shoot hoops or play Scrabble. We didn’t play cards to pass the time, we didn’t watch TV, we didn’t shop, we most certainly did not go to the mall. The first organized activity that I saw in New York, that same day, was singing. People sang. People sang around fire houses, people sang “We Shall Overcome”. Lots of people sang America the Beautiful. The first organized public event that I remember was the Brahms Requiem, later that week, at Lincoln Center, with the New York Philharmonic.

The first organized public expression of grief, our first communal response to that historic event, was a concert. That was the beginning of a sense that life might go on. The US Military secured the airspace, but recovery was led by the arts, and by music in particular, that very night.

From these two experiences, I have come to understand that music is not part of “arts and entertainment” as the newspaper section would have us believe. It’s not a luxury, a lavish thing that we fund from leftovers of our budgets, not a plaything or an amusement or a pass time. Music is a basic need of human survival. Music is one of the ways we make sense of our lives, one of the ways in which we express feelings when we have no words, a way for us to understand things with our hearts when we can’t with our minds.

Some of you may know Samuel Barber’s heart wrenchingly beautiful piece Adagio for Strings. If you don’t know it by that name, then some of you may know it as the background music which accompanied the Oliver Stone movie Platoon, a film about the Vietnam War. If you know that piece of music either way, you know it has the ability to crack your heart open like a walnut; it can make you cry over sadness you didn’t know you had. Music can slip beneath our conscious reality to get at what’s really going on inside us the way a good therapist does.
I bet that you have never been to a wedding where there was absolutely no music. There might have been only a little music, there might have been some really bad music, but I bet you there was some music. And something very predictable happens at weddings - people get all pent up with all kinds of emotions, and then there’s some musical moment where the action of the wedding stops and someone sings or plays the flute or something. And even if the music is lame, even if the quality isn’t good, predictably 30 or 40 percent of the people who are going to cry at a wedding, cry a couple of moments after the music starts. Why? The Greeks.

Music allows us to move around those big invisible pieces of ourselves and rearrange our insides so that we can express what we feel even when we can’t talk about it. Can you imagine watching Indiana Jones or Superman or Star Wars with the dialogue but no music? What is it about the music swelling up at just the right moment in ET so that all the softies in the audience start crying at exactly the same moment? I guarantee you if you showed the movie with the music stripped out, it wouldn’t happen that way.
The Greeks: Music is the understanding of the relationship between invisible internal objects.

I’ll give you one more example, the story of the most important concert of my life. I must tell you I have played a little less than a thousand concerts in my life so far. I have played in places that I thought were important. I like playing in Carnegie Hall; I enjoyed playing in Paris; it made me very happy to please the critics in St. Petersburg. I have played for people I thought were important; music critics of major newspapers, foreign heads of state. The most important concert of my entire life took place in a nursing home in Fargo, ND, about 4 years ago.

I was playing with a very dear friend of mine who is a violinist. We began, as we often do, with Aaron Copland’s Sonata, which was written during World War II and dedicated to a young friend of Copland’s, a young pilot who was shot down during the war. Now we often talk to our audiences about the pieces we are going to play rather than providing them with written program notes. But in this case, because we began the concert with this piece, we decided to talk about the piece later in the program and to just come out and play the music without explanation.

Midway through the piece, an elderly man seated in a wheelchair near the front of the concert hall began to weep. This man, whom I later met, was clearly a soldier-even in his 70’s, it was clear from his buzz-cut hair, square jaw and general demeanor that he had spent a good deal of his life in the military. I thought it a little bit odd that someone would be moved to tears by that particular movement of that particular piece, but it wasn’t the first time I’ve heard crying in a concert and we went on with the concert and finished the piece.
When we came out to play the next piece on the program, we decided to talk about both the first and second pieces, and we described the circumstances in which the Copland was written and mentioned its dedication to a downed pilot. The man in the front of the audience became so disturbed that he had to leave the auditorium. I honestly figured that we would not see him again, but he did come backstage afterwards, tears and all, to explain himself.

What he told us was this: “During World War II, I was a pilot, and I was in an aerial combat situation where one of my team’s planes was hit. I watched my friend bail out, and watched his parachute open, but the Japanese planes which had engaged us returned and machine gunned across the parachute chords so as to separate the parachute from the pilot, and I watched my friend drop away into the ocean, realizing that he was lost. I have not thought about this for many years, but during that first piece of music you played, this memory returned to me so vividly that it was as though I was reliving it. I didn’t understand why this was happening, why now, but then when you came out to explain that this piece of music was written to commemorate a lost pilot, it was a little more than I could handle. How does the music do that? How did it find those feelings and those memories in me?”

Remember the Greeks: music is the study of invisible relationships between internal objects. This concert in Fargo was the most important work I have ever done. For me to play for this old soldier and help him connect, somehow, with Aaron Copland, and to connect their memories of their lost friends, to help him remember and mourn his friend, this is my work.

This is why music matters.

If we were a medical school, and you were here as a med student practicing appendectomies, you’d take your work very seriously because you would imagine that some night at two AM someone is going to waltz into your emergency room and you’re going to have to save their life.

Well, my friends, someday at 8 PM someone is going to walk into your concert hall and bring you a mind that is confused, a heart that is overwhelmed, a soul that is weary.

Whether they go out whole again will depend partly on how well you do your craft.

You’re not here to become an entertainer, and you don’t have to sell yourself. The truth is you don’t have anything to sell; being a musician isn’t about dispensing a product, like selling used Chevies. I’m not an entertainer; I’m a lot closer to a paramedic, a firefighter, a rescue worker. You’re here to become a sort of therapist for the human soul, a spiritual version of a chiropractor, physical therapist, someone who works with our insides to see if they get things to line up, to see if we can come into harmony with ourselves and be healthy and happy and well.

Frankly, ladies and gentlemen, I expect you not only to master music; I expect you to save the planet. If there is a future wave of wellness on this planet, of harmony, of peace, of an end to war, of mutual understanding, of equality, of fairness, I don’t expect it will come from a government, a military force or a corporation. I no longer even expect it to come from the religions of the world, which together seem to have brought us as much war as they have peace. If there is a future of peace for humankind, if there is to be an understanding of how these invisible, internal things should fit together, I expect it will come from the artists, because that’s what we do. As in the concentration camp and the evening of 9/11, the artists are the ones who might be able to help us with our internal, invisible lives.



INSTRUCTIONS FOR CREATING AN OUTLINE HAND-OUT


TO ACCOMPANY THE: ADAPTATION – PART 1 ASSIGNMENT

INSTRUCTIONS FOR CREATING AN OUTLINE

Your outline should be a prose description of the action of your musical, told in present tense, which spells out the beginning, middle and end of a story.

Your initial outline, for the purposes of Core Curriculum assignments, should be no more than one page, single spaced. Half page is fine. You’ll probably want to have one paragraph for the beginning, one paragraph for the middle, and one paragraph for the end.

Include a working title and the names of all the authors on your collaborative team.

Begin your submission with the following questions and their answers:

Who is your main character?

What does he want?

What stops him from getting it?

alternately, you may include the following questions and their answers:

Who is your main character?

What does he learn?

What causes him to learn it?

Examples of Questions and Answers

Who is your main character? Lazlo.

What does he want? To steal the Mona Lisa.

What stops him from getting it? A guard.

Who is your main character? Tyrannosaurus Rex.

What does he want? The female Tyrannosaurus.

What stops him from getting it? The female Tyrannosaurus thinks he’s too weak; so he has to prove he’s a carnivore (which makes him sick to his stomach). He must eat the saber tooth tiger or lose the female Tyrannosaurus forever. The saber tooth has other ideas.

Tips

Create specific needs and wants, which are accomplishable in this room/on stage before our eyes. Do not write generalities which your main character can’t act upon.

Here are some vague examples (not accomplishable IN THIS ROOM)

He wants to be happy.

He wants to be rich.

He wants to be loved.

He wants to be a hero.

Here are better examples (accomplishable IN THIS ROOM)

He wants the girl to kiss him.

He wants to break into the vault and steal the jewels.

He wants his fiance to say yes to his proposal.

He wants to bite the saber tooth tiger in the leg.

Once Your Outline is Ready

1. Upload your outline to the Core Curriculum Home Page under your Team for this assignment.

and also

2. Email admin@nmi.org and your collaborators to let them know that you have uploaded the outline.



IN SUPPORT OF ADAPTATION HAND-OUT


TO ACCOMPANY THE: ADAPTATION – PART 1 ASSIGNMENT

IN SUPPORT OF ADAPATION

Advice to Young Musical Writers

In recent years there has been an ever-increasing number of adaptations in the theater and, by consequence, a steady decline of original works. This has been especially true of the musical play (musical play as opposed to musical comedy). There have actually been only three successful original musical plays in the last decade. This dearth has frequently been mentioned in the press, and when it has been, it has always been accompanied by a mournful cry for more fresh creation. As one who has written four originals, the one between these covers included, let me hereby warn all aspiring authors and composers to stuff their ears with cotton and pay no heed to this soulful wail. No one, neither critic nor public, is clamoring for originality. The only desire is for something good. And to be good is quite original enough. If you create a total work that finds general acceptance, no mention will be made of what you have done. If it’s unsuccessful, no one will commend you for your effort and encourage you to continue. All this I can state as a positive fact. And though it may seem edged with bitterness, I can assure you it is not. I have always been fully aware of the folly of that end of my endeavor and have often cursed the ambition that drives me. But with it all, my rewards in the musical field have been far in excess of what I truthfully feel I have contributed. No, my reasons for the above advice are sound and practical and come from one who loves his trade and has deep respect for it as a medium of expression.

The lyric theater is the one, and only one, true invention that has been made in theatrical form for many years. It is also a purely American creation; so American, in fact, is this subtle interweaving of word, song, and dance, that no other country has even been able to approach it. Because it is new, it also has great possibilities for development. And with a public that is searching for escape almost more avidly than it did during the war, there is a large, waiting audience. But there is also a problem. And this problem is a serious one. The spank in the machine is that there are very few people writing musicals. I don’t believe there are more than a dozen composers, librettists, and lyricists in all who are regular practitioners and who have committed their careers to the musical stage. Not only that, but of that number no more than three, possibly four, have been developed in the past ten years. The rest have been the backbone of our musical theater since the twenties and early thirties.

There are a myriad of reasons why this should be so. The most important one, however, is economic. Although there are many struggling neophytes composing musical plays, the cost of production these days is so astronomical that investors are reluctant to trust their funds to any but the tried and true. The hazard is further increased by the fact that the cost of attending a musical has risen so that although there is a public longing for entertainment, people are unwilling to risk the price of a ticket unless they have been assured by the press that the evening will be a rewarding one. This means there is no room for the moderate success. A musical show is either a smash hit or it will invariably be a financial failure. And to increase the hazard even more, favorable notices by a majority of the eight New York critics are not sufficient. There are two of the eight writing for the daily press who must be pleased above all. Survival without their blessing is relatively impossible; even though survival with their blessing is not absolutely guaranteed. All of this naturally has immediate effects on the economic and emotional plight of the author and composer. How long can they continue writing without seeing production of, and receiving remuneration for, their efforts? Where do they make mistakes and thus learn? And how long can anyone endure without some sign of encouragement?

And so I return to my early thesis. With the risks being what they are – and I have only mentioned a few of the multitude – your chances not only of reaching production but achieving success will be inestimably enhanced if you begin with a book, a short story, a motion picture, or a play that has already been approved by public and critic alike. The value of the basic story cannot be exaggerated. There is often a general tendency to regard the book of a musical as of little consequence. This is especially true when the musical is a success. But let the opening night be a two and a half hour wake and you will read the next morning how neither the cast, the music, the scenery, nor the dancing was able to overcome the inept plot. I can tell you the book is all-essential. It is the fountain from which all waters spring. So start off on the right foot and select a story that is all prepared for you. The translation of that story to musical form is quite complex enough. Within that frame you will find more than adequate challenge to your originality and enough on which to experiment.

Alan J. Lerner

In the forward to Paint Your Wagon

January 25, 1952



GENERAL COLLABORATION AGREEMENT HAND-OUT


TO ACCOMPANY THE: COLLABORATION ASSIGNMENT

ACADEMY FOR NEW MUSICAL THEATRE

MEMORANDUM OF AGREEMENT

Collaborative Musical Assignments - Core Curriculum

As a participant in ANMT’s Core Curriculum, I, __________________________

understand and agree to the following policy regarding ownership of any writing that I do as part of the assignments associated with the Core Curriculum and the Labs.

I retain full ownership of any writing that I do for an ANMT assignment, in the craft to which I have been officially assigned by ANMT, regardless of the contribution of my fellow collaborators. That is to say, if I am assigned as a lyricist, I retain rights to the lyrics; if I am assigned as a composer, I retain the rights to the music; if I am assigned as a bookwriter, I retain rights to the book.

I further understand that if I make a contribution to someone else’s craft on an assignment, I do not receive any ownership in that person’s rights. For example, if I am assigned as a composer but assist in the lyrics, I retain full ownership in the music, but no ownership in the lyrics.

A copy of this agreement shall be filed with the Academy for New Musical Theatre.

______________________________________________________________

Signature

__________________________________________

Date



FORMAT GUIDELINES FOR SCRIPT HAND-OUT


TO ACCOMPANY THE: RHYTHM/UPTEMPO ASSIGNMENT

FORMAT GUIDELINES FOR SCRIPT - AN INTRODUCTION

ANMT/NMI has a very detailed document that outlines the Samuel French Broadway format for an integrated script and score. You will want to become familiar with that document - which is available in the GENERAL DOCUMENTS section of the Core Home Page.

In the meantime, for the purposes of this RHYTHM/UPTEMPO scene assignment for bookwriters, please follow the basic format guidelines below.

BOOK

1” margins top, bottom, right, left

Courier (12 point)

Cover page indicates title and authors (traditionally bookwriter first, then composer, then lyricist)

Second page with cast, time, place

New scene begins new page

Initial stage direction of a scene indented 3”; no parentheses on initial stage directions

Subsequent stage directions indented 1” from left and 1” from right

Character names indented 3”

Dialogue flush left

Asides indented 1”, lowercase, in parentheses; asides should not be full sentences. (If they’re full sentences, promote them to full stage directions.)

In stage directions, capitalize character names and pronouns for the party performing an action – not the one having an action performed on them (“GEORGE walks into the room. HE stares at Mrs. Washington.”)

Page numbers - Indicate Act, Scene and page in upper right (2-3-67)

Song title should be the last thing in the script before the lyric page, in a stage direction, bolded. Precede the bolded title with some kind of not-bolded stage direction, even if you have to invent something innocuous like “HE smiles” or “THEY preen.”

no need for copyright notices

final collated script and score copies should be double-sided.

LYRICS

Lyrics in ALL CAPS, indented .5”

B-sections of lyrics indented 1.0”

C-sections of lyrics indented 1.5”

Subsequent sections, continue to increase indent by .5”

Introductory sections indented so they won’t be mistaken for A sections — probably 1.5” or more, depending upon aesthetics.

If a line of lyrics is too wide for margin, apply a .5” hanging indent, so that when it wraps, the remainder of that line is additionally indented.



DEFINITIONS OF SONG TYPES HAND-OUT


TO ACCOMPANY THE: COLLABORATION ASSIGNMENT

THE BALLAD

A ballad is a song with a serious lyrical intention that is characterized by the legato feeling of the melodic line. That is, the content of the song is usually something we take seriously and the music is smooth and flowing. It is the legato feeling of the music that really defines the song. In other words, a bouncy tune with serious words isn’t a ballad, whereas a smooth, flowing melody with a lighter content very well could be a ballad.

Ballads are used for many dramatic reasons, but the most common is probably a love song of some kind or other. Examples abound, and you can select your favorites. “If Ever I Would Leave You” is a typical ballad of the love song variety. Although the song is performed in the show Camelot with a very strong rhythmic pulse, the melody is very legato in style. Notice, also, how the words are arranged to make this possible. The only consonant that could be considered harsh in the opening title phrase is the “v” in ever and leave, and neither sound prevents the easy motion of the lyric. Say the
phrase, “If ever I would leave you.” One word blends into the next effortlessly – making this very easy to sing in the legato style of the music. Also, the phrases tend to end with round, open sounds – “Knowing how in spring I’m bewitched by you soooooooo” – so the singer can sustain the ends of phrases with an attractive sound. If a ballad is defined by the character of the music, the definition must be supported by the sound and content of the words.

Certainly not all ballads are boy-meets-girl love songs. One of the most interesting is from Oklahoma! The song “Lonely Room” is used to humanize a character. Jud is the villain, but rather than the evil, leering gent of earlier melodramas, he’s characterized as a psychologically disturbed murderer who craves physical love. Here the song really helps the audience understand and even fear the character.
The words are effective, and the music is sometimes balladic and legato, other times abrupt and staccato, reflecting the schizoid nature of both the song’s content and the character.

Another interesting use of a ballad is the song “Far From The Home I Love” in Fiddler On The Roof. This song explores the drama with a simple eloquence and causes the central character to re-examine his priorities when his daughter sings it. Again, the lyrics support the style of the music with soft consonants – “Far from the home I love/Yet there with my love, I’m home.”

Examples of Ballads

Classic:

“If Ever I Would Leave You” (Camelot)

“Lonely Room” (Oklahoma)

“Far From the Home I Love” (Fiddler on the Roof)

“Send in the Clowns” (A Little Night Music)

Contemporary:

“Home” (Bat Boy)

“Fine Fine Line” (Avenue Q)

“I Am Here for You” (Book of Mormon)

THE RHYTHM/UPTEMPO

Note: We used to call this kind of song a “charm” song; many composers still do. We have found, however, that the commodity “charm” has gone out of fashion in musical theatre, and songs which used to be considered charming are now rather old-fashioned and approach parody. The artistic elements of a rhythm/uptempo remain the same, however.

Rhythm/Uptempo songs are defined by the rhythm – not merely the rhythm in the accompaniment, but also and especially the rhythmic syncopation of the melodic line.

The lyrics to a rhythm/uptempo song are usually optimistic and not as serious or ambitious as those of a ballad, and the words will contain lots of good, hard consonants and rhythmic phrases that lend themselves to syncopation.

The quintessential rhythm/uptempo song must surely be “The Surrey With The Fringe On Top” from Oklahoma!. The lyric is narrative and percussive, the tune is rhythmic and reflects the content of the words, and the effect in the theatre is uptempo beyond belief.

Rhythm/uptempo songs are not hard to find. They are the mainstay of a score, outnumbering ballads and comedy songs by at least two to one. Consider just a couple and examine how the words and music work together to create the rhythmic unity that produces such a high degree of charm in the theatre.

Examples of Uptempo Songs

Classic:

“The Surrey With the Fringe on Top” (Oklahoma!)

“Getting to Know You” (The King and I)

“I Feel Pretty” (West Side Story)

“She Loves Me” (She Loves Me)

“Wouldn’t it Be Loverly?” (My Fair Lady)

Contemporary:

“If You Were Gay” (Avenue Q)

“My Major is Joan” (Fun Home)

“Man Up” (Book of Mormon)

THE COMEDY SONG

A comedy song is defined as a song in which the lyrics make us laugh out loud more than once. Comedy songs are generally complaints, and very often indulge in self-pity. Self-pity is only attractive when it makes us laugh.

Ballads and uptempo songs are characterized by the style of the music, but in comedy songs the words take precedence. Frequently the music to a comedy song is very attractive and charming, but the audience seldom cares as long as it supports the lyrics, which make us laugh out loud.

Topics for comedy songs are usually in the nature of a complaint of some kind, may be dripping with self-pity and always are rooted in some sort of problem. In “I’m Just A Girl Who Cain’t Say No,” Ado Annie thinks she has a terrible disease. She believes that the other girls don’t have the feelings she experiences when she’s with a “feller.” “Adelaide’s Lament” in Guys And Dolls is that her perpetual cold is probably psychosomatically induced by her unwed status. In Brigadoon, a young girl’s search for “The Love Of My Life” thinly disguises her questionable virtue. Tevye’s “If I Were A Rich Man” from Fiddler on the Roof is mainly about his misconceptions of wealth. In each case there is an element of complaint – and something real to complain about: poverty, lack of virtue, chronic sniffles or the painful realities of puberty. Normally a complaint is not attractive and writers eschew self-pity like the plague – and they ought to! Except when writing comedy songs.

Comedy songs are much harder to write than they are to define. However, there’s at least one in every successful score, and two or three are to be hoped for. Audiences love to laugh. When attending a musical, the audience’s expectation is that a fair amount of entertainment will ensue. Originally, remember, the form was called “musical comedy”, and the responsibility to help an audience laugh remains strongly a part of the genre.

Examples of Comedy Songs

Classic:

“I’m Just A Girl Who Cain’t Say No” (Oklahoma)

“Adelaide’s Lament” (Guys and Dolls)

“The Love Of My Life” (Brigadoon)

“If I Were A Rich Man” (Fiddler on the Roof)

Contemporary:

“The Internet is for Porn” (Avenue Q)

“Sex is in the Heel” (Kinky Boots)

“You and Me (But Mostly Me)” (Book of Mormon)

THE MUSICAL SCENE

A musical scene is defined as a moment in a musical when an entire scene is musicalized. This may mean that the sequence contains one or more songs and/or reprises, including underscored dialogue (if necessary, but not required). The section being musicalized must be a complete scene, with a beginning, middle, and end, and including a dramatic action.

Definitions of dramatic action will keep you awake nights, but the one we use is: The exercise of a character’s will in the face of an opposing force.

Musical scenes are useful when there are multiple conflicting forces on stage at the same time (Think “Tonight” from West Side Story), but they’re not merely crowd scenes. The focus of a musical scene is generally on one character who is working through a problem or confronting a conflict, though there could be multiple characters in action.

Ballads, rhythm/uptempo songs and comedy songs can all serve as the basis for musical scenes. “Tonight” from West Side Story is an example of a musical scene arising from a ballad.

Another example of a musical scene (even though it only involves one character) is “Soliloquy” from Carousel. It begins as a reflective moment and contains elements of charm in the songs “My Boy Bill” and “My Little Girl”. But at the end of the song, the young father-to-be realizes what his responsibilities will be. Consider the final lyrics: “I never knew how to make money/But I’ll try, by God, I’ll try/I’ll go out and make it or steal it or take it/Or die!” The reflection has caused him to make a decision, and we know he will act on it. Definitely a musical scene.

Not all musical scenes need to have such dire consequences as “Soliloquy” does to qualify. “You Must Meet My Wife” from A Little Night Music is a comedic musical scene. During the song, Frederick gives Desiree permission to hate his wife, Anne, by revealing her to be a perfectly horrible little simp, which she is, and Desiree announces her decision, albeit cleverly and comedically, to do the little witch in.

A caution: don’t create a musical scene simply by adding underscoring or vamps to a scene in a book. You want your music to have a dramatic function, and not simply mark time in order to make a scene feel as though it’s a whole musical sequence.

Examples of Musical Scenes

Classic:

“Tonight” (West Side Story)

“Tevye’s Dream” (Fiddler on the Roof)

“You Must Meet My Wife” (A Little Night Music)

“I’m Going Back” (Bells Are Ringing)

“A Weekend in the Country” (A Little Night Music)

Contemporary:

“The Money Song” (Avenue Q)

“That Horrible Woman” (A Gentleman’s Guide to Love and Murder)

“Gay or European” (Legally Blonde)

“Schuler Defeated” (Hamilton)



CORE CURRICULUM OVERVIEW HAND-OUT


TO ACCOMPANY THE: GETTING TO KNOW US ASSIGNMENT

CORE CURRICULUM WORKSHOP

The Core Curriculum is the heart of the Writers’ Workshop at the Academy for New Musical Theatre (which is the academic branch of New Musicals Inc.), and the entry point for all bookwriters, lyricists, and composers new to ANMT. Meetings take place one weekend per month, generally from September until April. Each month, you will be put on a new team and given a song or scene to write and then present at the next month’s session.

Collaborative Process Overview

During the Core Curriculum season, we will be emphasizing ANMT’s collaborative process. This process is first broken down into four basic parts—blueprinting, drafting, presenting, revising—and then further separated into our 10 Steps of Collaboration.

ANMT’s Recommended 10 Steps of Collaboration:

1) Conception

2) Outlining/re-outlining/greenlight

3) Rough draft

4) Song-spotting

5) Writing music and lyrics/Adjusting book

6) Collaborating on presentation

7) Submitting and presenting first draft for feedback

8) Response to feedback

9) Outlining current draft/outline proposed revisions

10) Revisions

General Session Schedule – one weekend per month

Saturday 2:30 p.m. – 6:30 p.m. Presentations

Sunday 2:30 p.m. – 7:30 p.m. Presentations, Assignments, & Collaborator Meetings

Core Curriculum Schedule for the 2021-22 Season
     Sat, Sep 25
     Sun, Sep 26
     Sat, Oct 16
     Sun, Oct 17
     Tue, Oct 26
     Wed, Oct 27
     Thu, Oct 28
     Sat, Nov 13
     Sun, Nov 14
     Sat, Dec 11
     Sun, Dec 12
     Sat, Jan 8
     Sun, Jan 9
     Sat, Feb 5
     Sun, Feb 6
     Sat, Mar 5
     Sun, Mar 6
     Sat, Mar 26
     Sun, Mar 27

(See 15MM section below for other important dates.)

Reading List

The Core assignments are based on plays, screenplays, and teleplays from the current repertoire (copies of which are available on our website). NOTE that this list is subject to change with notice. Scripts that the participants need to read in order to prepare for the assignments include:


     
     
     
     
     GLITTER AND BEA by Ryan J. Haddad
     IN THE NEXT ROOM (or the vibrator play) by Sarah Ruhl
     THE BIG SICK by Emily V. Gordon & Kumail Nanjiani
     THE FERRYMAN by Jez Butterworth
     THE LAST FIRST by Chad Beckim
     THE LITTLE DOG LAUGHED by Douglas Carter Beane
     THE RABBIT HOLE by David Lindsay-Abaire
     WHY WE CAN'T HAVE NICE THINGS by Lloyd Suh

Craft Labs

Each participant in the Core Curriculum is expected to complete one Craft Lab (Book, Lyrics, or Music). These labs focus directly on the discipline most conducive to your particular talents and contain a challenging workload, independent of the Core Curriculum. You are welcome to take more than one Craft Lab if your schedule permits, although we do not recommend taking three in one season since the workload gets pretty heavy.

The Labs are all delivered completely ON LINE with individualized feedback from the evaluators.

Fees

Core Curriculum (including ONE Lab and a 15 Minute Musical): $1700.00

Craft Labs: One Lab is included in Core fee; additional Labs are $495.00 (each)

(Fees are billed in four equal installments billed immediately after the October assignments and then on November 15, January 15, and March 15)

15-Minute Musicals

The Core Curriculum culminates in the intense 15-Minute Musical Experience.

On the 15-Minute Musical Launch Day, you will be put on a team and given a predetermined theme and some common parameters. Just two days later, your team will submit an outline. A week and a half later you will have written your very rough first draft! (Note that your participation will be determined by which Lab(s) you have completed. Lyric Lab participants will be assigned as lyricist, Book Lab as bookwriters, and Music Lab as composers; writers who have completed more than one Lab will be eligible - but not guaranteed - to perform multiple roles depending on the make-up of the group. There will be NO single-writer teams; all teams will have at least two writers, and most will have three.)

Actors will very lightly rehearse this draft and present it for you at the First Assessment where you will receive detailed dramaturgical feedback from the ANMT staff. About two weeks later, you will submit a second draft and go through the same experience at your Second Assessment.

One more re-write and—about two weeks later—your Final Draft will go into rehearsals for a public performance in a Los Angeles theatre - assuming that there are no shelter-in-place orders in effect. (If Los Angeles is under shelter-in-place orders, we will shift the 15 Minute Musicals to a filmed event for the internet.)

15 MINUTE MUSICALS SCHEDULE OVERVIEW (subject to change)


Sat, Apr 2     12:00 pm - 3:00 pm
15 Minute Musicals Launch
All writers are REQUIRED to be in attendance (in person or by live streaming) on this day. Also - clear your schedule late into the evening because you will want to get together with your team and get your outline launched BEFORE you go to bed this night.

From Mon, Apr 4 until the ROUGH DRAFT REVIEW will be your first HEAVY WRITING PERIOD.
You will be outlining, rough drafting, song spotting, song writing, and revising your first draft.
BLOCK OUT THIS 3-WEEK PERIOD FOR HEAVY-DUTY COLLABORATING!!!

Fri, Apr 29     6:00 pm - 11:00 pm
RED PROGRAM - Rough Draft Due and reviewed.
ATTENDANCE IS REQUIRED FOR ALL RED PROGRAM WRITERS.

Sat, Apr 30     6:00 pm - 11:00 pm
BLUE PROGRAM - Rough Draft Due and reviewed.
ATTENDANCE IS REQUIRED FOR ALL BLUE PROGRAM WRITERS.

Mon, May 2     6:00 pm - 10:30 pm
RED PROGRAM: First Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Tue, May 3     6:00 pm - 10:30 pm
BLUE PROGRAM: First Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Tue, May 3 through Sat, May 7 - Relax! Take the week off while the actors rehearse your First Draft!

Sat, May 7     2:00 pm - 11:00 pm
RED PROGRAM FIRST ASSESSMENT: Presentations and Assessments of the First Drafts.
ATTENDANCE REQUIRED FOR ALL RED PROGRAM WRITERS


Sun, May 8     2:00 pm - 11:00 pm
BLUE PROGRAM FIRST ASSESSMENT: Presentations and Assessments of the First Drafts.
ATTENDANCE REQUIRED FOR ALL BLUE PROGRAM WRITERS


From Sun, May 8 through the SECOND DRAFT SUBMISSION will be your second HEAVY WRITING PERIOD. You will be revising your draft based on the feedback from the assessment.
BLOCK OUT THIS 2-WEEK PERIOD FOR HEAVY-DUTY COLLABORATING!!!


Wed, May 25     6:00 pm - 10:30 pm
RED PROGRAM: Second Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Thu, May 26     6:00 pm - 10:30 pm
BLUE PROGRAM: Second Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Thu, May 26 through
Tue, May 31 through Wed, Jun 1 - Relax! Take a break while the actors rehearse your Second Drafts! (You are ENCOURAGED to attend rehearsals, but you are not required to do so.)
Thu, Jun 2
- Relax! Take a break while the actors rehearse your Second Drafts! (You are ENCOURAGED to attend rehearsals, but you are not required to do so.)
Fri, Jun 3 - Relax! Take a break while the actors rehearse your Second Drafts! (You are ENCOURAGED to attend rehearsals, but you are not required to do so.)

Sat, Jun 4     2:00 pm - 11:00 pm
RED PROGRAM SECOND ASSESSMENT: Presentations and Assessments of the Second Drafts.
ATTENDANCE REQUIRED FOR ALL RED PROGRAM WRITERS


Sun, Jun 5     2:00 pm - 11:00 pm
BLUE PROGRAM SECOND ASSESSMENT: Presentations and Assessments of the Second Drafts.
ATTENDANCE REQUIRED FOR ALL BLUE PROGRAM WRITERS


From Sun, Jun 5 through the ROUGH FINAL DRAFT REVIEW will be your last HEAVY WRITING PERIOD. You will be revising your draft based on the feedback from the assessment.
BLOCK OUT THIS VERY SHORT ONE WEEK PERIOD FOR HEAVY-DUTY COLLABORATING!!!


Wed, Jun 15     6:00 pm - 11:00 pm
RED PROGRAM: Rough Final Draft Due and reviewed.
ATTENDANCE IS REQUIRED FOR ALL RED PROGRAM WRITERS.


Thu, Jun 16     6:00 pm - 11:00 pm
BLUE PROGRAM: Rough Final Draft Due and reviewed.
ATTENDANCE IS REQUIRED FOR ALL BLUE PROGRAM WRITERS.


Sat, Jun 18     6:00 pm - 10:30 pm
RED PROGRAM: Final Performance Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Sun, Jun 19     6:00 pm - 10:30 pm
BLUE PROGRAM: Final Performance Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Sun, Jun 19     6:00 pm - 10:30 pm
RED PROGRAM: Director Meetings.
At least one member of your team needs to be available to meet (or Zoom) with your Director to discuss the final draft.


Mon, Jun 20     6:00 pm - 10:30 pm
BLUE PROGRAM: Director Meetings.
At least one member of your team needs to be available to meet (or Zoom) with your Director to discuss the final draft.


Mon, Jun 20 through
Sat, Jul 9
Preview at NMI. (Exact time TBA.)

Tue, Jul 12
FIRST PERFORMANCE of all 15 MINUTE MUSICALS. (Exact time and location TBA.)

Wed, Jul 13
SECOND PERFORMANCE of all 15 MINUTE MUSICALS. (Exact time and location TBA.)

Thu, Jul 14 to Thu, Jul 14
EXIT INTERVIEWS with John and Elise. A 40-minute slot will be scheduled with each writer on one of these days.


Fri, Jul 15 to Fri, Jul 15
EXIT INTERVIEWS with John and Elise. A 40-minute slot will be scheduled with each writer on one of these days.




Note: Any date shown as REQUIRED ATTENDANCE means in-person for local participants; by LIVE stream-cast for distance participants. Also, each participant would only be assigned to the Red OR the Blue Program, not both.



APPROACHING YOUR COLLABORATION HAND-OUT


TO ACCOMPANY THE: COLLABORATION ASSIGNMENT

The most important thing to remember as you enter into a series of “forced” collaborations over the next several months is: RESPECT.

If you treat your collaborators with respect, your experience will be far better - even if it is not the perfect collaboration that will turn into a life-long partnership.

DEADLINES: The first thing you will want to do when you begin a new assignment is to make a PLAN with your collaborators about how you will communicate, and what kind of internal deadlines you want to set to make sure the team can meet the assignment deadline(s). RESPECT your team by observing those deadlines.

COMMUNICATION: During the length of your collaboration, make sure you stay in touch with your team. If life intervenes and you can’t make a scheduled meeting/conference call/deadline - make sure you contact your team and let them know what’s up. RESPECT your team by staying in communication.

THE PROCESS: Every new collaboration should start with a TEAM DISCUSSION about the project so that everyone can contribute to the DESIGN and PLAN for the final product. If you are the bookwriter, don’t think you can just go ahead and write the outline and the dialogue without input from your lyricist and composer. If you are the lyricist and composer, don’t think you can just sit back and wait for the bookwriter to get things rolling. EVERY ONE NEEDS TO SIGN OFF ON THE PLAN and the DEADLINES at the very start.

Once you get into the thick of the writing – don’t STOP collaborating. If the lyricist is going first on a song, and turns in a lyric to the composer – that doesn’t mean that now the composer will complete it and present the song next month without the lyricist getting a chance to weigh in. Or without the bookwriter getting a chance to weigh in on whether or not the song is remaining true to the story; or if revisions to the book are going to be necessary.

This means that when you are planning your deadlines – you need to plan for the initial collaboration; the initial writing period – and then the REVIEW period when everyone gets a chance to weigh in and suggest and/or make changes before the final product appears in the room.

And this means that you have to leave enough time when planning the deadlines for the composer to do their notating – which is a process all it itself that is separate from the artistic creation of the song.

DIVISION OF LABOR: You will be required to sign a Collaborative Agreement before you begin work on your assignments for the Core Curriculum. The purpose of this document is to establish your ownership of any of the work you present in the function to which you have been assigned: 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 only have the final word in your own arena.

Also – do not offer suggestions if you are then going to want to be given credit. Just because you suggest a couple of great lyrics does NOT mean you deserve to be credited as a co-lyricist. If you can’t make a suggestion without wanting credit for it, don’t make it.

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

Bookwriters: If you are responsible for incorporating lyrics into your document, make absolutely sure you have accurately reflected the lyricist’s choices. Feel free to make suggestions for alterations, but do not make those alterations yourself and ask for permission later. If you have been asked to supply new dialogue to be spoken during a song, make sure you respond quickly and collaboratively.

Composers: NEVER submit a piece of music to a lyricist in which lyrics have been changed without permission. 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 “dummy” lyrics and the lyricist can feel free to change them. Don’t do it. It is disrespectful.

Lyricists: NEVER submit a lyric in which you have revised the bookwriter’s words to suit your lyric. You can let your bookwriter know you need a line of dialogue, and possibly type “I need a line here about Joe loving Jane” – but do NOT write the dialogue yourself and then ask your bookwriter if it is okay. Don’t do it. It is disrespectful.

Some other things to remember:
Do YOUR work even if your collaborators bale
This is NOT a competition
Do the work
Do your best
Be a good collaborator
Show potential for growth



ANMT DIVERSITY AND INCLUSION STATEMENT HAND-OUT


TO ACCOMPANY THE: GETTING TO KNOW US ASSIGNMENT

We Celebrate Your Stories

Musical Theatre is an art form that tells the stories of every race, gender, age, religion, and identity. In order to help tell those stories, we are passionate about creating an inclusive workshop environment that promotes and values diversity. There is more work to be done, and we invite you to be our partners in making sure we do everything we can to celebrate multiple approaches and points of view.



A WARNING FROM YOUR DRAMATURGE HAND-OUT


TO ACCOMPANY THE: ADAPTATION – PART 1 ASSIGNMENT

A WARNING FROM YOUR DRAMATURGE:

This is likely your first experience submitting an outline for my approval. Please be prepared to have to revise your outline several times, based on my notes.

And here’s the warning: I’m really really picky.

I want your outline to be a blue-print for the action of your musical; told in present tense; with no editorializing. (You will have a BIG head start in understanding what I mean by this if you have already completed Unit 2 of the Book Lab - which is a crash-course in outlining).

I will be particularly pushy about the language you use for your outline: you only want to write what your audience will SEE and HEAR. Don’t draw conclusions; don’t set the mood; don’t state backstory; don’t tell me what your character is thinking or feeling, don’t be vague about your setting or the size of your cast; and don’t mention possible songs.

DON’T DRAW CONCLUSIONS

Don’t say “He is angry.”

Say “He throws a chair against the wall.”


In the first example, you are simply stating a fact - but that isn’t useful information for an outline, because you are simply TELLING me what you want me (as an audience member) to think. In the second example, you are SHOWING me an action; and ideally I (as an audience member) will come up with the conclusion that “he is angry” all on my own.

And yes, you could tell me “I’ll figure out what action he does when I actually write the scene” but NO - I don’t accept that. Because the decision about whether he throws a chair, or pouts, or shoots a man dead with his gun will have a HUGE impact on the way the rest of your story unfolds. Your story is about CAUSE and EFFECT - so if you don’t know the exact CAUSE now, how can you figure out what the EFFECT will be?

DON’T SET THE MOOD

This isn’t a novel. An outline is a very dry collection of actions; it isn’t poetry or even prose. It’s simply functional.

Don’t say: “There is an ominous darkness in the air, and it is clear something terrible is about to happen.”

Say: “Bob throws open the door and rushes across the room, where he hides under a table, shaking with fear.”

DON’T STATE BACKSTORY

If there are things about your characters and/or story that you need me to know, don’t simply STATE them as BACKSTORY; make sure you decide WHEN and HOW your audience will learn that information.

Don’t say: “Bob, a champion tennis player, enters the room.”

Say: “Bob enters the room, carrying a tennis racket and brandishing a large trophy.”

DON’T USE DIALOGUE

Careful not to let your outline devolve into dialogue - the temptation is great, but it will lengthen and clutter your outline and make it much harder to see clearly whether or not you have your story beats organized in a compelling way.

Don’t say: “Bob turns to Jane and says ‘I love you.’ She replies ‘I love you, too Bob’.

Say: Bob and Jane confess that they love each other.


(This might seem like only a slight difference - but believe me, once you begin writing dialogue, it is a slippery slope and before you know it you won’t be able to see your plot points for the quotation marks.)

DON’T TELL ME WHAT YOUR CHARACTER IS THINKING OR FEELING

Your audience will only know what they see and hear - so your outline is your chance to decide exactly WHAT to SHOW them to help make sure they will understand what the character is thinking or feeling. But simply stating what they are thinking or feeling will make you think you’ve done your job, when you really haven’t.

Don’t say: “It is clear that Bob really wants to tell Jane how much he loves her.”

Say: “Bob begins to speak, but then changes his mind.”


YES - it will NOT necessarily be clear that he was going to tell Jane how much he loved her - but that is exactly the point. Your audience won’t know what he was going to say - so you will need to determine whether or not the action you have given him is sufficient to get your point across. And remember - your audience doesn’t need to know EVERYTHING right NOW. Will this moment be ENOUGH for them to - eventually - understand what you want them to know about what he’s thinking?

DON’T BE VAUGE ABOUT YOUR SETTING OR THE SIZE OF YOUR CAST

Your outline is the place for you to figure out how big your cast is; and how many locations your set will need to have. Nobody is saying you have to write a three-person single-set show to get produced; but what you DO want to do is to make sure you don’t have more characters or sets than you NEED to tell the story convincingly.

Don’t say: “He stands outside, listening at the door, then walks inside the saloon that is filled with customers. He walks through a door at the other side of the saloon and into the manager’s office.”

Say: “He walks into the manager’s office, and comments on how full the bar is tonight.”


OR

“He walks into the saloon where Fess, Davey, and Scoop are drinking at the bar and Lily is at the piano.”

DON’T MENTION SONGS

Yes, this is a musical. So why shouldn’t you talk about songs?? Because - the outline (and the rough draft) are where you want to get the STORY DETAILS right. Decisions about what aspects of the story will be musicalized should be made later, by the whole team. Even if you are all already really sure that a specific spot will be musicalized, it is still your job as the bookwriter to write the PLOT of that moment - not simply to state that there will be a song.

Don’t say: “He sings a song about his feelings for her.”

Say: “Bob talks about how much he loves Jane; how he has loved her since the first moment he met her, and that today he is sure he is finally going to ask her to marry him.”

TAKE ALL OF THIS VERY SERIOUSLY, PLEASE. You will be writing a lot of outlines - and many more outline revisions - in the CORE program, and in any future dealings with NMI. We take outlines VERY seriously. Put in the work to get it right at this early stage of the game - and resist the urge to say “I’ll fix that when I write the dialogue”. That’s just not how musicals work. There are too many moving parts to a musical to give you the playwright’s luxury of figuring it out as you go along. Figure it out NOW - so your team doesn’t spend their time writing songs that are for the wrong characters at the wrong moments about the wrong topics.

But also remember that you don’t have to get it all right the first time. Do the best you can, and then USE your dramaturge to help you get the rest of the way there. It is my job to point out inconsistencies; or suggest where you might be able to consolidate scenes or characters; or ask questions about your lead character’s arc or the theme of your show. You don’t need to wait until it is PERFECT before you send it to me - but you can certainly minimize the boring feedback about the basics by adhering to my suggestions above; and we can concentrate together on the more interesting part of fine-tuning the heart and soul of your story.

MOST IMPORTANTLY: You will need an outline green light from me before you can begin writing your 15 Minute Musical - so master the form NOW.

Just keep telling yourself: only write down what the audience will SEE and HEAR. You can’t go wrong with that mantra.



A DEFINITION OF THE TERM MUSICAL HAND-OUT


TO ACCOMPANY THE: OVERNIGHT ASSIGNMENT

The Full Definition of the term “Musical” from the Encyclopedia Britannica

“Musical”, also called musical comedy: A theatrical production that is characteristically sentimental and amusing in nature, with a simple but distinctive plot, and offering music, dancing, and dialogue.

The antecedents of the musical can be traced to a number of 19th-century forms of entertainment including the music hall, comic opera, burlesque, vaudeville, variety shows, pantomime, and the minstrel show. These early entertainments blended the traditions of French ballet, acrobatics, and dramatic interludes.

In September 1866 the first musical comedy, The Black Crook, opened in New York City. It was later described as a combination of French Romantic ballet and German melodrama, and it attracted patrons of opera and serious drama, as well as those of burlesque shows. In the late 1890s the British showman and entrepreneur George Edwardes brought his London Gaiety Girls to New York City, calling his production musical comedy to distinguish it from his previous burlesques.

Much of American popular music of the first decades of the 20th century was written by European immigrants, such as Victor Herbert, Rudolf Friml, and Sigmund Romberg. They brought a form of operetta to the United States that was, in every sense, the generic source for musical comedy; it was sentimental and melodious and established a tradition of the play based on musical numbers and songs. Romberg’s works, such as The Student Prince (1924) and The Desert Song (1926), were also made into successful motion pictures. George M. Cohan ushered in the heyday of musical comedy with his productions; they introduced such memorable songs as “You’re a Grand Old Flag,”““Give My Regards to Broadway,” and “Over There”.

During the 1920s and ’30s, musical comedy entered its richest period. Jerome Kern working with Guy Bolton and P.G. Wodehouse, wrote a number of outstanding comedies. George and Ira Gershwin teamed up to write Oh, Kay! (1926), Funny Face (1927), Strike Up the Band (1930), and others. Cole Porter wrote timeless and sophisticated compositions for such musicals as Anything Goes (1934) and Dubarry Was a Lady (1939). Other notable composers and lyricists of this period were Richard Rodgers and Oscar Hammerstein II, Harold Arlen, Jule Styne, and Vincent Youmans.

The genre took a new turn with the production in 1927 of Show Boat (music by Kern, book and lyrics by Hammerstein); it was the first musical to provide a cohesive plot and initiate the use of music that was integral to the narrative, a practice that did not fully take hold until the 1940s. Based on a novel by Edna Ferber, the musical presented a serious drama based on American themes incorporating music that was derived from American folk melodies and spirituals.

Later musicals that were as tightly constructed as Show Boat were Rodgers and Hammerstein’s Oklahoma! (1943), Carousel (1945), and South Pacific (1949). Alan Jay Lerner and Frederick Loewe also wrote a number of highly successful musicals, notably Brigadoon (1947) and My Fair Lady (1956). They also collaborated on the motion-picture musical Gigi (1958), and four of their theatrical works were later made into motion pictures. Leonard Bernstein wrote West Side Story (1957, with Stephen Sondheim), a conversion of the setting and elements of Shakespeare’s Romeo and Juliet to mid-20th-century New York City.

Musicals as they were known from the 1930s to the 1950s began to decline in the late 1960s. By then, musicals had begun to diverge in many different directions: rock and roll, operatic styling, extravagant lighting and staging, social comment, nostalgia, pure spectacle. The first notable example of the rock musical was Hair (1967), which found its social dissent in a combination of loud music, stroboscopic lighting, youthful irreverence, and nudity. In a few cases, rock music was combined with biblical stories, as in Godspell (1971) by Stephen Schwartz and Jesus Christ Superstar (1971) by Andrew Lloyd Webber and Tim Rice. Other notable later musicals include Stephen Sondheim’s Company (1970) and Sweeney Todd (1979), Marvin Hamlisch and Edward Kleban’s A Chorus Line (1975), Lloyd Webber’s Evita (1978), Cats (1981), and The Phantom of the Opera (1986); and The Lion King (1997), with music by Elton John and lyrics by Tim Rice.

Popular musicals in the 21st century include Stephen Schwartz’s Wicked (2003); The Book of Mormon (2011), with music, lyrics, and book by Matt Stone, Trey Parker, and Robert Lopez; and Lin-Manuel Miranda’s Hamilton (2015).



15 MINUTE MUSICAL SCHEDULE OVERVIEW HAND-OUT


TO ACCOMPANY THE: ADAPTATION – PART 3 ASSIGNMENT

The 15 Minute Musicals will be upon us before you know it!  There will be LOTS more info coming next month, but in preparation, you should be looking VERY CLOSELY at the schedule overview below.  This overview will tell you when your attendance is REQUIRED (live or streaming live) and when to prepare for the heaviest writing periods with your collaborators to get your three drafts of your musical completed.

***PLEASE TAKE THIS SCHEDULE VERY SERIOUSLY.  You really need to reserve the required days and block out lots of time during the heavy writing periods.  If you don’t think you manage this, you should alert us right away so we can discuss whether or not you will be able to participate in the 15 Minute Musicals. ***


Sat, Apr 2     12:00 pm - 3:00 pm
15 Minute Musicals Launch
All writers are REQUIRED to be in attendance (in person or by live streaming) on this day. Also - clear your schedule late into the evening because you will want to get together with your team and get your outline launched BEFORE you go to bed this night.

From Mon, Apr 4 until the ROUGH DRAFT REVIEW will be your first HEAVY WRITING PERIOD.
You will be outlining, rough drafting, song spotting, song writing, and revising your first draft.
BLOCK OUT THIS 3-WEEK PERIOD FOR HEAVY-DUTY COLLABORATING!!!

Fri, Apr 29     6:00 pm - 11:00 pm
RED PROGRAM - Rough Draft Due and reviewed.
ATTENDANCE IS REQUIRED FOR ALL RED PROGRAM WRITERS.

Sat, Apr 30     6:00 pm - 11:00 pm
BLUE PROGRAM - Rough Draft Due and reviewed.
ATTENDANCE IS REQUIRED FOR ALL BLUE PROGRAM WRITERS.

Mon, May 2     6:00 pm - 10:30 pm
RED PROGRAM: First Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Tue, May 3     6:00 pm - 10:30 pm
BLUE PROGRAM: First Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Tue, May 3 through Sat, May 7 - Relax! Take the week off while the actors rehearse your First Draft!

Sat, May 7     2:00 pm - 11:00 pm
RED PROGRAM FIRST ASSESSMENT: Presentations and Assessments of the First Drafts.
ATTENDANCE REQUIRED FOR ALL RED PROGRAM WRITERS


Sun, May 8     2:00 pm - 11:00 pm
BLUE PROGRAM FIRST ASSESSMENT: Presentations and Assessments of the First Drafts.
ATTENDANCE REQUIRED FOR ALL BLUE PROGRAM WRITERS


From Sun, May 8 through the SECOND DRAFT SUBMISSION will be your second HEAVY WRITING PERIOD. You will be revising your draft based on the feedback from the assessment.
BLOCK OUT THIS 2-WEEK PERIOD FOR HEAVY-DUTY COLLABORATING!!!


Wed, May 25     6:00 pm - 10:30 pm
RED PROGRAM: Second Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Thu, May 26     6:00 pm - 10:30 pm
BLUE PROGRAM: Second Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Thu, May 26 through
Tue, May 31 through Wed, Jun 1 - Relax! Take a break while the actors rehearse your Second Drafts! (You are ENCOURAGED to attend rehearsals, but you are not required to do so.)
Thu, Jun 2
- Relax! Take a break while the actors rehearse your Second Drafts! (You are ENCOURAGED to attend rehearsals, but you are not required to do so.)
Fri, Jun 3
- Relax! Take a break while the actors rehearse your Second Drafts! (You are ENCOURAGED to attend rehearsals, but you are not required to do so.)

Sat, Jun 4     2:00 pm - 11:00 pm
RED PROGRAM SECOND ASSESSMENT: Presentations and Assessments of the Second Drafts.
ATTENDANCE REQUIRED FOR ALL RED PROGRAM WRITERS


Sun, Jun 5     2:00 pm - 11:00 pm
BLUE PROGRAM SECOND ASSESSMENT: Presentations and Assessments of the Second Drafts.
ATTENDANCE REQUIRED FOR ALL BLUE PROGRAM WRITERS


From Sun, Jun 5 through the ROUGH FINAL DRAFT REVIEW will be your last HEAVY WRITING PERIOD. You will be revising your draft based on the feedback from the assessment.
BLOCK OUT THIS VERY SHORT ONE WEEK PERIOD FOR HEAVY-DUTY COLLABORATING!!!


Wed, Jun 15     6:00 pm - 11:00 pm
RED PROGRAM: Rough Final Draft Due and reviewed.
ATTENDANCE IS REQUIRED FOR ALL RED PROGRAM WRITERS.


Thu, Jun 16     6:00 pm - 11:00 pm
BLUE PROGRAM: Rough Final Draft Due and reviewed.
ATTENDANCE IS REQUIRED FOR ALL BLUE PROGRAM WRITERS.


Sat, Jun 18     6:00 pm - 10:30 pm
RED PROGRAM: Final Performance Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Sun, Jun 19     6:00 pm - 10:30 pm
BLUE PROGRAM: Final Performance Draft Due.
This is a drop-off deadline only. Someone needs to deliver the copies of your team's draft by the deadline.


Sun, Jun 19     6:00 pm - 10:30 pm
RED PROGRAM: Director Meetings.
At least one member of your team needs to be available to meet (or Zoom) with your Director to discuss the final draft.


Mon, Jun 20     6:00 pm - 10:30 pm
BLUE PROGRAM: Director Meetings.
At least one member of your team needs to be available to meet (or Zoom) with your Director to discuss the final draft.


Mon, Jun 20 through
Sat, Jul 9
Preview at NMI. (Exact time TBA.)

Tue, Jul 12
FIRST PERFORMANCE of all 15 MINUTE MUSICALS. (Exact time and location TBA.)

Wed, Jul 13
SECOND PERFORMANCE of all 15 MINUTE MUSICALS. (Exact time and location TBA.)

Thu, Jul 14 to Thu, Jul 14
EXIT INTERVIEWS with John and Elise. A 40-minute slot will be scheduled with each writer on one of these days.


Fri, Jul 15 to Fri, Jul 15
EXIT INTERVIEWS with John and Elise. A 40-minute slot will be scheduled with each writer on one of these days.





15 MINUTE MUSICAL COLLABORATION AGREEMENT HAND-OUT


TO ACCOMPANY THE: FORMATTING ASSIGNMENT

************************************************************

THIS IS A SAMPLE OF THE FORM YOU AND YOUR TEAM WILL BE ASKED TO FILL OUT BEFORE STARTING YOUR 15 MINUTE MUSICAL

***********************************************************

ACADEMY FOR NEW MUSICAL THEATRE

MEMORANDUM OF AGREEMENT

15-Minute Musical Project

between ________________________________________________________

and ________________________________________________________

and ________________________________________________________

As of ______________________

The parties agree to collaborate in the writing of a 15 minute musical project as part of the Core Curriculum at the Academy for New Musical Theatre.

At the end of June of this year, ownership of each of the crafts (book, music, lyrics) reverts to the individual writers. That is to say, that a writer who has been assigned the responsibility of “book by” shall retain ownership of the book portion of the musical project, that a writer who has been assigned the responsibility of “music by” shall retain ownership of the music portion of the musical project, and that a writer who has been assigned the responsibility of “lyrics by” shall retain ownership of the lyric portion of the musical project, regardless of the contribution of his fellow collaborators.

This agreement shall be signed by all the writers on this project, and a copy shall be filed with the Academy for New Musical Theatre.

Agreed:

_______________________________________________________

_______________________________________________________

_______________________________________________________



15 MINUTE MUSICAL BIBLE HAND-OUT


TO ACCOMPANY THE: COLLABORATOR PREFERENCE FORM ASSIGNMENT



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 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.

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.

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 312:00 pm - 3:00 pm15 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 pmDeadline 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 pmDeadline 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 pmDeadline 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 306:00 pm - 11:00 pmRED 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 16:00 pm - 11:00 pmBLUE 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 36:00 pm - 10:30 pmRED 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 46:00 pm - 10:30 pmBLUE 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 47:00 pm - 11:00 pmRED 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 57:00 pm - 11:00 pmBLUE 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 82:00 pm - 11:00 pmRED 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 92:00 pm - 11:00 pmBLUE 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 266:00 pm - 10:30 pmRED 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 276:00 pm - 10:30 pmBLUE 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 277:00 pm - 11:00 pmRED 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 2910:00 am - 3:00 pmBLUE 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 52:00 pm - 11:00 pmRED 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 62:00 pm - 11:00 pmBLUE 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 166:00 pm - 11:00 pmRED 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 176:00 pm - 11:00 pmBLUE 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 196:00 pm - 10:30 pmRED 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 206:00 pm - 10:30 pmBLUE 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 206:00 pm - 10:30 pmRED 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 216:00 pm - 10:30 pmBLUE 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 217:00 pm - 11:00 pmRED 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 227:00 pm - 11:00 pmBLUE 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 107:00 pm - 11:00 pmPreview performance at NMI. Invited audience only. 7:00pm show. Rehearsal schedule TBA.
Tue, Jul 132:00 pm - 11:00 pmFIRST PERFORMANCE
Wed, Jul 145:00 pm - 11:00 pmSECOND PERFORMANCE
Thu, Jul 1510:00 am - 8:30 pmScheduled status review with John and Elise
Tue, Jul 206:00 pm - 8:30 pmScheduled status review with John and Elise
Sat, Jul 2412:30 pm - 6:00 pmScheduled status review with John and Elise
Fri, Jul 3010:00 am - 11:00 amScheduled 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.)