Writers Write…
After a play is written, the writer’s job is done, right? It’s a “collaborative” art, so all you have to do is to give it over to a theater and they’ll handle the rest.
And … end dream sequence.
Reality check: writers write a play or musical, and they then spend the next 7-10 years trying to move it forward.
And that, folks, is the reality.
It All Starts With A Great Script
It’s possible to have a “meh” script and get produced. Look at many off-Broadway, and heck, even some Broadway shows, for examples of scripts that had problems but money was raised and the show was produced any way.
That’s NOT what I advise.
The more engaging a script is, with clear stakes, action, intentions and a takeaway message, the more your work is going to interest people and the farther it will take you.
Specifically, I’m interested in script with:
- An interesting world
- Characters that I like and feel real (and are imperfect)
- A believable plot with high stakes and clear action
- Theatricality
- An emotional journey that allows me to experience something new to me by the end
- Production values that encompass me and transport me to another place
Can your script do that? Whether the genre is comedy, satire, musical drama, “experimental,” or something else, if your work can engage me emotionally, make me think or realize something I’ve never known before, then I’m interested as a producer.
However, if you include funny songs just “because the audience love them,” stage too much exposition at the beginning, confuse me, over-explain a point or have dialogue that’s just plain too talky, well then, you have a problem.
Fix the problem by inviting an audience in, and listen to what they say.
Continue development, and then go to step #2.
#2 When It’s Ready, Present It
(Caveat: Don’t present before the script is ready! You only have one chance to make a great first impression.)
When you’re ready, present at an appropriate spot for a high-level developmental production. In NYC, think of a Ripley-Grier, Open Jar, Pearl, or maybe even the Signature studios or a theater. These locations indicate a high level of readiness for a full production, and producers, industry people, and artistic directors should be on your invite list. The higher the profile, the more bells and whistles of the reading. “Stars,” name directors and such could draw an audience, but you’ll pay more for this level of reading.
At this point you’re out of the typical 29-hour reading framework and into AEA Tier reading levels, which then become pricey but include recording permissions. This is the point to engage a General Manager, not before, and then they are useful primarily to help you get a higher-level audience. With a typical new musical you’re now generally looking at almost six figures.
Step 3: Workshop Production
It’s good if you can realize the work on its feet before a first production. These are when you can bring in the “production text” elements: music, staging, movement, choreography, and a suggestion of scenography. Ideal places for a workshop would be a regional or university theater production, or large NY studio space for a book-in-hand Tier 1, 2 or 3 reading, allowing for some choreography. Community theater production numbers are also good possibilities, although you may want to contribute to their design budget if you’re planning on recording it.
This last developmental step is for when you know your script works and are confident enough to invite producers, general managers, and perhaps some potential front money producers in to see your work. Have the next step in mind so when they ask you what’s next, you have a planned response.
Writing is just rewriting. Make sure you’re always writing the next play while you’re developing the others, so that when a producer says that she loves your work, you can send along other scripts as well!
We need the storytellers right now to provide prospective. Who is there to tell the story of life lived right now, in the early 21st century, other than our writers?
Stay true to yourself. Stay true to all of us.
Write.