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PLAY PRODUCERS AND PUBLISHERS
Composers and lyricists seeking to place their work in a challenging and lucrative market should consider writing shows for the musical theater stage. While writing for this form is more difficult than creating pop music, the artistic and financial considerations make it potentially the most gratifying arena available to songwriters.
From an artistic standpoint, writing a musical is both challenging and re- warding. In the course of a show, the composer and lyricist get to present a body of work in a variety of styles. A solidly written musical thus becomes a calling card that shows off a range of your abilities. Producers don't hold a stopwatch on your songs to determine if they're the proper length or fit with this year's hottest sound, so the music is not limited to constraints of radio or contemporary formats.
Financially, there are few creative projects for songwriters as potentially lucrative as a successful musical. Royalties are paid for every performance of every production anywhere in the world. On a hit Broadway show like "The Secret Garden," the composer, lyricist and librettist can each expect to make as much as $7,000 to $ 10,000 per week from that single production. Multiply that by the number of touring companies, and the figures become even more impressive.
Songwriters make additional money from the original cast album, individual sheet music sales and piano-vocal selections, as well as from royalties from public performances in film, TV or nightclubs. In addition, composer and lyricist share equally in the sale of the property to film or television.
THE THEATER SONGWRITING CRAFT
A musical is a collaboration between three elements: book (also called script or libretto), lyrics and music. AU three must work together to create a unified product. Writing music for a stage musical differs from other forms of composing in that the songs constitute only two-thirds of the project. Music and lyrics
are judged in the context of the book, and only incidentally as a complete and separate artistic entity.
It is important for each writer on the creative team to understand the work of his collaborators and how their efforts fit together. The book, or libretto, tells a story, sets structure, defines characters and creates appropriate placement for musical numbers. Lyrics serve as an extension of character voice, and must both express the character's mood and match the vocabulary, style and rhythms of the character's dialogue as set by the book. Music dramatizes the lyric and supports the emotions of the dramatic moment.
The most time-efficient way to begin writing a musical is to read the book, develop lyrics based on the characters in the script, and then come up with the music. Composers and lyricists who want to get involved with a project need to find a scriptwriter to work with, preferably a playwright or aspiring film or television writer. The surest route to musical theater disaster is for songwriters to put together a group of songs and then attempt to find a story that fits them. Many failed shows produce cast recordings with great songs that make the project sound like it should have been a winner. In every case, what you can't hear on the album is "book trouble," some failing in the story or structure that caused the show to flop. In musical theater no matter how good your score, if you don't have a strong book, you don't have a show.
Many songwriters think that they can write an entire musical, including the book. We strongly advise against this. Unless you have a strong background in stagecraft, it is not a good idea to attempt to write the libretto as well as the music and lyrics for the musical. Only a small handful of writers in the history of professional theater have successfully accomplished that. Again, the best case scenario is to find a playwright first and plan a show from the ground up that incorporates all the collaborators' desires and vision. The second best way to handle this situation is to locate a play that seems able to lend itself to a musical, gain the rights and work directly with a playwright as the book writer.
Differences Between Pop and Theater Songwriting Craft Musical theater places greater expectations on your craft than pop songwriting. In all the pop forms, imperfect rhymes are acceptable. Assonance and alliteration rarely appear, except as a substitute for rhyme. By contrast, musical theater producers, publishers and audiences demand the highest level of lyric writing. Ends of lines require perfect rhymes. Internal rhymes are expected. In addition, assonance and alliterations frequently appear to build the word patters within the lyrics. (Study any lyric by Oscar Hammerstein, Cole Porter or Larry Hart to understand the level of craft to which you must aspire.) Lyricists who take liberties with these standards risk having their scores dismissed by those who produce new musicals.
Another difference between theater and pop songwriting is that in pop, the song is complete unto itself, the end product of a moment of "inspiration." That necessity will probably change many times as the script goes through successive drafts, causing you to write multiple songs for the same theatrical moment until you find one that fits. Musicals are not written; they are rewritten, and rewritten, etc. You must be prepared to stick with the evolutionary process of the form and not stop working until you have it right.
LEGALITIES Collaborators on a musical must have their legal affairs in order before submit- ting a show. The creators of book, lyrics and music are considered equal partners in the writing of a show and need a collaboration agreement that sets the terms of their working relationship, including what happens to the show elements if the collaboration breaks up. The section on "Joint Works" in The Songwriter's Guide to Collaboration by -Walter Carter (Writer's Digest Books) offers guidance for drawing up an agreement, and the Dramatists Guild (234 West 44th Street, New York, NY 10036) provides a standard form for use by its members.
If you choose to base your show on pre-existing material not in the public domain, rights must be secured before you develop the show. (The leader of one well-known musical theater workshop used to tell his students to write shows without obtaining rights. He contended that once the finished work was presented to the writer of the original material, rights would happily be granted. His advice proved wrong in a heart breaking number of cases.) When you finish the writing process, copyright the script and songs (on lead sheets or cassette) as an unpublished collection under a single title. Then you will be ready to begin the submission process.
PREPARING THE SUBMISSION PACKAGE
Wherever you send your show, every submission will require certain standard materials that you must have prepared in advance. Not all of these will be required for every submission, but if you have everything ready you will be able to move quickly when opportunities arise.
Music
Elements for the musical submission include an audiotape, lead sheets and lyric sheets. To avoid hiss and distortion, the audiotape needs to be recorded on high-quality, high-bias tape. The level of production depends upon the sophistication of the recording equipment available to you, your time, your budget, and the needs of the show. In general, musical theater producers prefer a less highly produced recording than pop producers. A piano/vocal
recording has been the traditional way to pitch musicals, and many experienced producers still prefer this method, since it allows them to hear the melody clearly. But others like to have a sense of what the orchestrations will sound like, especially if the show features contemporary music.
It's best to choose a middle ground in developing your demo tape. A rule of thumb would be to fill in the picture with some production, but keep your orchestrations conservative. For ballads, try piano/vocal with synthesized strings; for contemporary up-tempo, add the rhythm section. Be careful to avoid overproduction. Your show is better served if you put your time and energies into developing the entire project and not into creating an original cast album.
Take time to find singers who sound like the characters you are creating. Remember that the music always serves the script. The tape of your musical must present characters expressing their deepest thoughts and feelings through the songs. Musical theater singers need to act the moments through their voices rather than simply "put the song across." They must also articulate clearly enough to make words understandable to the thickest of ears.
Record the entire score before submitting the show. If producers prefer an excerpt, choose three to five pieces that best reflect your range of abilities. Make certain your tapes are properly queued and match the script and letter being sent. Label the cassette clearly with the name of the show, the composer and lyricist, and whether the tape contains an excerpt or the complete show.
A J-card is not necessary, but if you plan to use one, include the same information as on the label and add a list of songs, which character performs them, and how to contact the writers. Information about music producer, engineer, instrumentalists and vocalists is not important.
Include lyric sheets for an excerpt submission of your show. Each lyric needs to include your name, address, phone number, the name of the show and all the writers. If a complete script is being submitted, separate lyric sheets are not necessary. While it is a good idea to prepare lead sheets, few producers or publishers are interested in considering them on initial submission.
Each of the writing partners need to have current copies of your r6sum6s and biographies available. In addition, if the writers or show have received any publicity, reviews or professional recommendations, they should be included in the submission package.
Libretto
Book materials include a one-page synopsis of the story starting with the premise, briefly spelling out the action and indicating placement of the songs.
The librettist must also prepare bound copies of the script, with title and author credits on the cover. While this format is not as strict as the format for film and television work, the copy is usually centered in the upper third of the page. Type size and font are irrelevant, though in these days of computer possibilities, something large, elegant and instantly legible helps announce the arrival of your script.
An inside title page lists the title and author credits as they appear on the cover, plus addresses and phone numbers at the bottom of the page to contact the writers. If an agent represents the work, she should be listed here along with proper contact information.
The second page contains a cast breakdown by age, sex, vocal range and a few important character details, plus an estimation of the number of people required in the chorus to achieve all the roles.
The next page should list musical numbers, who sings them and the page on which the lyrics appear in the script. After the list of musical numbers comes the body of the script.
Queries
It is always best to begin the submission process with a query letter that clearly states the premise and story of your piece, technical requirements, a sense of its style and any development you have done. Most theaters will not consider unsolicited material.
Include the synopsis, a demo tape with three to five songs, and your promotional clips, if any. This makes for a lighter weight, lower postage mailing with enough materials to fairly represent the show, but not enough to make an unreasonable time demand upon the producer or publisher.
To speed response to your query letter, include an SAS postcard. Format it with the name of the producer or theater to which you sent the package, a checklist for required materials and a space for a response if they choose to pass on your work. Address this postcard to yourself and clip it on top of the cover letter.
Based on the information checked on your reply card, you will know how to proceed on a full submission.
Submissions
If the theater, producer or publisher responds with interest, promptly send out the requested materials. Your cover letter should acknowledge their sub- mission request, the date it was sent, and list everything you are sending out. On the outside mailing label, write "Requested Materials Enclosed."
Each submission package should contain a self-addressed stamped envelope (SASE) to guarantee return of materials. In addition, an SAS
- "No unsolicited scripts" means just that. Send only the materials re- quested and query the company first. This statement is often followed by a qualifier, such as "Please send query" or "Agent submissions only." Pay close attention to these qualifiers when submitting.
??mp;quot;Sample of music and lyrics" -your excerpt tape. ??mp;quot;Traditional musicals" - not interested in experimental works or progressive music for the larger, more commercial space. No hip-hop musicals here.
- "Cast limit fifteen" -includes your chorus. Every actor on stage adds to the production budget, and if your show requires more than the stated number, either trim your cast or skip this submission.
- "Experimental works" - anything that stretches theatrical form, includes unusual themes or musical styles not usually heard on the stage. This is where your hip-hop musical submission belongs.
- "Black box, no wing or fly space" -the theater is an open space with no room to change sets or move them offstage. It requires shows with a single set and limited production requirements.
- "Small cast" -interpretation varies, but usually no more than ten actors, often five or fewer.
- "Best submission time is December-March" -theater seasons run along approximately the same guidelines as the school year. Decisions are usually made on the next season's work by late spring.
By going through listings carefully, you can eliminate all theaters automatically not interested in your musical for reasons of cast size, technical requirements and subject material. Between the listed resource books, you will be able to gather information on all the major producing markets -Broadway, off-Broadway, regional theaters (LORT), dinner theaters, off-off Broadway/ ninety-nine-seat theaters, schools and universities. Aim your submissions at the most likely markets and theaters.
PLAY PUBLISHERS Play publishers function as agents and promoters for your work in the production markets that generally book one to six performances, usually schools, churches and community theaters. In general, they look for shows meant to be performed for or by children that call for large casts, limited technical requirements and clean material. Playing time of the show is strictly formatted by the age of the audience: children's market, 45-75 minutes; teens, 60-90 minutes; family theater, 90-120 minutes. Music and lyrics tend to require less demanding writing than songs aimed at a Broadway audience.
Play publishers prefer your work to have had at least one production before they will consider it. While many publishers claim to want material relevant to modern kids' lives, most believe that an AIDS-themed musical will not sell. Other elements that can kill your show for this market include offensive, risqu?r suggestive language or situations; controversial subject matter, and material that is so topical it will be out of date in a few years. On the other hand, if a show fits the requirement of a specific publisher and has had at least one production, the opportunities for publication are excellent.
Publishers place a listing for your show in their catalog, which is mailed out annually to thousands of potential producing entities. Unless a show has received absolutely no response, they plan to keep the scripts listed up to five years and will carry a show indefinitely as long as it is selling. While the royalties in a given year may not be large, on a good show they will be consistent year after year, with no additional expenditure of time or energy on the part of the writers.
Submission procedure remains the same as with play producers. A query consisting of a synopsis, a well-presented audiotape excerpt and clips on you and your partners constitutes your best introductions. After that, it's up to the needs of the publisher and the quality of your work.
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