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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 Fri, May 7. The first rehearsal is closed to writers. This is your time to relax, breathe, do your laundry, thank Aunt Sadie.

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

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

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

It is our intention to cast your actual performers for this draft, so that you can have a chance to test out various keys and vocal ranges. The actors will rehearse from Thu, May 27 through 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 Mon, May 31 through 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 Tue, Jun 1 through 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 Wed, Jun 2 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.

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 Sat, Jul 10. You are not required to attend rehearsals, but you are welcome (and are encouraged) to do so. We will try to give you a schedule of rehearsals in advance so that you can plan to attend the rehearsals specifically for your project – but we CANNOT guarantee that a particular rehearsal schedule will be adhered to. Schedules being what they are, we may have to work around specific scheduling difficulties of dramaturges, directors, music directors, and actors. NOTE that any requests or suggestions for revisions must go through and be approved by the director.

Sat, Jul 10. You are not required to attend rehearsals, but you are welcome (and are encouraged) to do so. We will try to give you a schedule of rehearsals in advance so that you can plan to attend the rehearsals specifically for your project – but we CANNOT guarantee that a particular rehearsal schedule will be adhered to. Schedules being what they are, we may have to work around specific scheduling difficulties of dramaturges, directors, music directors, and actors. NOTE that any requests or suggestions for revisions must go through and be approved by the director.

We are planning to have a Preview performance of all the musicals at the NMI space on Mon, Jul 12, and official performances on Tue, Jul 13 and Wed, Jul 14 (exact location and time TBA). Each show will receive one performance on each night.

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

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

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

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

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

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

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

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

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

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

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

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


15 MINUTE MUSICALS SCHEDULE
Sat, Apr 3 12:00 pm - 3:00 pm 15 Minute Musicals Launch Day. Collaborative teams formed and agreements signed; theme announced; parameters detailed. Authors should plan to spend the rest of the evening AT LEAST to devise a story line.
**Required of all collaborators**
Mon, Apr 5 10:00 pm Deadline for bookwriter to upload outline - in correct ANMT format - and also email it to admin@nmi.org and all collaborators. DO NOT PROCEED WITHOUT GREENLIGHT ON OUTLINE
Mon, Apr 12 10:00 pm Deadline for bookwriter to upload rough draft of book only. There will be no feedback on the rough draft, and no greenlight is needed for the team to proceed to song spotting.
Thu, Apr 15 10:00 pm Deadline for the team to upload and email proposed song list. There will be no feedback on the song list, and no greenlight is needed for the team to proceed with writing the songs.
Fri, Apr 30 6:00 pm - 11:00 pm RED PROGRAM - Rough First Draft Due. You are to provide four (4) copies, correctly collated and hole-punched. Format must adhere to ANMT Format Guidelines as posted on the website. (Please bring EXTRA copies for your fellow writing teams.) ANMT Staff will review draft for formatting clarity and rehearsal-readiness (no dramaturgical feedback). All writers must attend the entire session.
**Required of all collaborators**
Sat, May 1 6:00 pm - 11:00 pm BLUE PROGRAM - Rough First Draft Due. You are to provide four (4) copies, correctly collated and hole-punched. Format must adhere to ANMT Format Guidelines as posted on the website. (Please bring EXTRA copies for your fellow writing teams.) ANMT Staff will review draft for formatting clarity and rehearsal-readiness (no dramaturgical feedback). All writers must attend the entire session.
**Required of all collaborators**
Mon, May 3 6:00 pm RED PROGRAM - First Draft Due. You are to provide eight (8) copies, correctly formatted, collated and hole-punched. ALSO UPLOAD SCRIPT, SCORE, and SOUND FILES TO YOUR WEBSITE FOLDER.
**Drop-off only**
Tue, May 4 6:00 pm BLUE PROGRAM - First Draft Due. You are to provide eight (8) copies, correctly formatted, collated and hole-punched. ALSO UPLOAD SCRIPT, SCORE, and SOUND FILES TO YOUR WEBSITE FOLDER.
**Drop-off only**
Tue, May 4 7:00 pm - 11:00 pm RED PROGRAM - First Draft rehearsals begin. This first rehearsal is closed to authors. Authors welcome at subsequent rehearsals (but there will be no rewriting during this period.)
Wed, May 5 7:00 pm - 11:00 pm BLUE PROGRAM - First Draft rehearsals begin. This first rehearsal is closed to authors. Authors welcome at subsequent rehearsals (but there will be no rewriting during this period.)
Sat, May 8 2:00 pm - 11:00 pm RED PROGRAM - Presentations and Assessments of First Drafts - dramaturgical feedback from ANMT staff. BRING COPIES OF YOUR SCRIPT/SCORE SO YOU CAN FOLLOW ALONG DURING THE FEEDBACK (and consider bringing extra copies for your fellow writers to follow along.) All teams must attend the entire session.
**Required of all collaborators**
Sun, May 9 2:00 pm - 11:00 pm BLUE PROGRAM - Presentations and Assessments of First Drafts - dramaturgical feedback from ANMT staff. BRING COPIES OF YOUR SCRIPT/SCORE SO YOU CAN FOLLOW ALONG DURING THE FEEDBACK (and consider bringing extra copies for your fellow writers to follow along.) All teams must attend the entire session.
**Required of all collaborators**
Wed, May 26 6:00 pm - 10:30 pm RED PROGRAM - Second Draft Due. You are to provide eight (8) copies, correctly formatted, collated and hole-punched. ALSO UPLOAD SCRIPT, SCORE, and SOUND FILES TO YOUR WEBSITE FOLDER.
**Drop-off only**
Thu, May 27 6:00 pm - 10:30 pm BLUE PROGRAM - Second Draft Due. You are to provide eight (8) copies, correctly formatted, collated and hole-punched. ALSO UPLOAD SCRIPT, SCORE, and SOUND FILES TO YOUR WEBSITE FOLDER.
**Drop-off only**
Thu, May 27 7:00 pm - 11:00 pm RED PROGRAM - Second Draft Rehearsals begin. (Exact schedule TBA) Authors may attend these rehearsals beginning with the SECOND rehearsal. NOTE that any requests or suggestions for revisions must go through and be approved by the director.
Mon, May 31 7:00 pm - 11:00 pm RED PROGRAM - Second Draft Rehearsals begin. (Exact schedule TBA) Authors may attend these rehearsals beginning with the SECOND rehearsal. NOTE that any requests or suggestions for revisions must go through and be approved by the director.
Tue, Jun 1 7:00 pm - 11:00 pm RED PROGRAM - Second Draft Rehearsals begin. (Exact schedule TBA) Authors may attend these rehearsals beginning with the SECOND rehearsal. NOTE that any requests or suggestions for revisions must go through and be approved by the director.
Wed, Jun 2 7:00 pm - 11:00 pm RED PROGRAM - Second Draft Rehearsals begin. (Exact schedule TBA) Authors may attend these rehearsals beginning with the SECOND rehearsal. NOTE that any requests or suggestions for revisions must go through and be approved by the director.
Sat, Jun 5 2:00 pm - 11:00 pm RED PROGRAM - Presentations and Assessments of Second Drafts - dramaturgical feedback from ANMT staff. BRING COPIES OF YOUR SCRIPT/SCORE SO YOU CAN FOLLOW ALONG DURING THE FEEDBACK (and consider bringing extra copies for your fellow writers to follow along.) All teams must attend the entire session.
**Required of all collaborators**
Sun, Jun 6 2:00 pm - 11:00 pm BLUE PROGRAM - Presentations and Assessments of Second Drafts - dramaturgical feedback from ANMT staff. BRING COPIES OF YOUR SCRIPT/SCORE SO YOU CAN FOLLOW ALONG DURING THE FEEDBACK (and consider bringing extra copies for your fellow writers to follow along.) All teams must attend the entire session.
**Required of all collaborators**
Wed, Jun 16 6:00 pm - 11:00 pm RED PROGRAM - Rough Final Draft Due. You are to provide four (4) copies, correctly collated and hole-punched. Format must adhere to ANMT Format Guidelines as posted on the website. (Please bring EXTRA copies for your fellow writing teams.) The ANMT staff will read/sing through the script for timing. If your script is over 15 minutes, you will be asked to make cuts before submitting the final copies. All teams must attend the entire session.
**Required of all collaborators**
Thu, Jun 17 6:00 pm - 11:00 pm BLUE PROGRAM - Rough Final Draft Due. You are to provide four (4) copies, correctly collated and hole-punched. Format must adhere to ANMT Format Guidelines as posted on the website. (Please bring EXTRA copies for your fellow writing teams.) The ANMT staff will read/sing through the script for timing. If your script is over 15 minutes, you will be asked to make cuts before submitting the final copies. All teams must attend the entire session.
**Required of all collaborators**
Sat, Jun 19 6:00 pm - 10:30 pm RED PROGRAM - Final Performance Script Due. You are to provide ten (10) copies, correctly formatted, collated and hole-punched. This is the draft which will be performed; no rewrites or new pages of any kind after this date. If your musical is running longer than 15-minutes at this point, any necessary cuts will be made by the Director.
**Drop-off only**
Sun, Jun 20 6:00 pm - 10:30 pm BLUE PROGRAM - Final Performance Script Due. You are to provide ten (10) copies, correctly formatted, collated and hole-punched. This is the draft which will be performed; no rewrites or new pages of any kind after this date. If your musical is running longer than 15-minutes at this point, any necessary cuts will be made by the Director.
**Drop-off only**
Sun, Jun 20 6:00 pm - 10:30 pm RED PROGRAM - DIRECTOR MEETINGS: An opportunity for writing teams to meet with their director to discuss their final draft prior to the final rehearsal process. At least ONE team member from each show MUST be available to meet. (Music Directors, Stage Managers, and Actors are NOT called.)
**Required of all collaborators**
Mon, Jun 21 6:00 pm - 10:30 pm BLUE PROGRAM - DIRECTOR MEETINGS: An opportunity for writing teams to meet with their director to discuss their final draft prior to the final rehearsal process. At least ONE team member from each show MUST be available to meet. (Music Directors, Stage Managers, and Actors are NOT called.)
**Required of all collaborators**
Mon, Jun 21 7:00 pm - 11:00 pm RED PROGRAM - Final rehearsals begin – schedule to be announced. Authors may attend these rehearsals. NOTE that any requests or suggestions for revisions must go through and be approved by the director.
Tue, Jun 22 7:00 pm - 11:00 pm BLUE PROGRAM - Final rehearsals begin – schedule to be announced. Authors may attend these rehearsals. NOTE that any requests or suggestions for revisions must go through and be approved by the director.
Mon, Jul 12 7:00 pm - 11:00 pm Preview performance at NMI. Invited audience only. 7:00pm show. Rehearsal schedule TBA.
Tue, Jul 13 2:00 pm - 11:00 pm FIRST PERFORMANCE
Wed, Jul 14 5:00 pm - 11:00 pm SECOND PERFORMANCE
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.)