Blog

Festival Alumni in the News

Festival Shows in the News

Members in the News

NAMT News

Congrats To Our Members and Alumni Nominated for NYC Theatre Awards

May 10, 2016

The incredibly busy New York awards season is underway, and the hard work of many NAMT members and alumni has been recognized in this full season of musical theatre. Congratulations to all!
The 70th Annual Tony Award nominations were announced last week. Hamilton (developed at and produced by member The Public Theater) received a record-breaking 16 nominations. Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed (produced in part by member Center Theatre Group) received ten nominations, including Best New Musical. School of Rock, written by Festival Alum Glenn Slater (Fest ’08, Beatsville) received four nominations, include Best New Musical. Duncan Sheik’s (Fest ’15, Noir) American Psycho the Musical (produced in part by Center Theatre Group) earned two nominations, and the revival of his Spring Awakening received three nominations, including Best Revival of a Musical.

NAMT News

New Work in Progress: Invisible

May 4, 2016

This month, we checked in with Elise Dewsberry from New Musicals Inc. about their upcoming concert reading of Invisible, written by David Hollingsworth and David Orris. The reading is being produced in consortium with NAMT member 3-D Theatricals, and has just received a Project Development grant from the National Fund for New Musicals.
Invisible is a John-Hughes-esque musical theatre adaptation of the HG Wells classic The Invisible Man with a totally original pop/rock score that takes great joy in paying homage to popular music and popular cultural tropes of the era. The show ultimately endeavors to physically and figuratively bring the audience into their own hallowed high school hallways via the heightened and dangerous halls of Springborough High School. Invisible lives in the fairly self-concerned and narcissistic year of 1988, because at its core, it is a show about what it means to cut away all of the cultural and social melodrama and truly see another human being.
NMI is working together with 3-D Theatricals to develop this project. How did that relationship first come about, and how did the two organizations come together to work on this specific project?
Funny you should ask! Although T.J. Dawson and I both work near Los Angeles, we actually met at the NAMT Conference in the fall of 2014. We got to chatting, and T.J. mentioned that he was interested in having 3-D Theatricals get involved in the development of new musicals. Since that’s exactly what we’re about at New Musicals Inc., I suggested that he let me know if he had any new works he would like to submit for a reading as part of our STAGES Festival. Since T.J. is hoping to produce new work on his mainstage at some point in the future, it made perfect sense that we should bring him some readings so that his audience could start to feel like they were a part of the development process, and start to take ownership of some of the new shows. Once we got back to LA, we had several more meetings, and we wound up actually expanding our STAGES Festival (summer of 2015) and bringing performances of all five new musicals (including Invisible) down to Orange County for T.J.’s audience. Since then, we’ve created a Concert Reading Series to bring even more new shows down to his audience. It’s a win-win situation—our writers get a chance to hear their new works in development, and T.J.s audience gets a chance to know more about the development process.

NAMT News

2016-2017 National Fund for New Musicals Grants Announced

April 27, 2016

We are thrilled to announce eleven awards granted from the National Fund for New Musicals, a major funding program to support NAMT member not-for-profit theatres in their collaborations with writers to create, develop and produce new musicals. Now in its eighth year, the Fund will provide grants totaling $43,000 to twelve organizations across the country.
NAMT Executive Director Betsy King Militello stated: “We are honored and excited to support our member theatres as they work with this inspiring group of writers to develop these innovative and provocative new musicals. With these grants, we have now awarded 88 grants totaling $358,500. These projects will join a growing list of important new musicals added to the canon with support from our National Fund for New Musicals.

NAMT News

Festival Show Update: My Heart Is the Drum

April 7, 2016

This month, we chat with Festival Alumni Phillip Palmer, Stacey Luftig and Jennie Redling about their 2013 Festival Show, My Heart Is the Drum, which opens at the Village Theatre in Issaquah tonight. The show previously received a Writers Residency Grant at Kent State University School of Theatre and Dance.
My Heart Is the Drum has had quite a journey since the 2013 Festival! How did the show make its way to the Village Theatre for this production?
It has been quite a journey! And along the way, My Heart Is the Drum has become sort of a poster child for NAMT-member development. At the NAMT after-party, we met Robb Hunt, Village Theatre’s Executive Producer, who told us he loved the show. A few months later, we had a formative week-long writers retreat at Goodspeed Musicals. That summer, Drum was part of the Festival of New Musicals at Village Theatre. That was followed in the fall of 2014 by a workshop at Kent State University, and, that winter, a developmental production there—which Robb Hunt attended, and where we signed our contract with Village Theatre. Two workshops at Village happened after that, and here we are—with opening night of our World Premiere at Village Theatre [tonight]!
The last time we checked in with My Heart Is the Drum, the show was preparing for a production at NAMT member Kent State University. What has kind of response has the show had since then?
We’re thrilled to report several honors since then to complement the BMI Harrington Award for Creative Excellence that Jennie Redling had earned a few years back for the libretto. In 2015, Phillip Palmer and Stacey Luftig won the Fred Ebb Award for Excellence in Musical Theatre Songwriting, and in 2016 Stacey won the Kleban Prize as Most Promising Lyricist—both awards based on songs from My Heart Is the Drum. The show was also a Finalist for the 2016 Richard Rodgers Award. And Village Theatre was awarded a National Endowment of the Arts Grant to help expand understanding of issues raised in My Heart Is the Drum.

NAMT News

Festival Show Update: Othello: The Remix

March 4, 2016

This month, we chat with Chicago Shakespeare Theater’s Rick Boynton and The Q Brothers, JQ and GQ, about 2015 Festival Show Othello: The Remix, written by the Q Brothers and developed with Boynton. Othello: The Remix, which received a Writers Residency Grant at CST, is heading back to Chicago for a production this spring.
What has the post-Festival response for Othello: The Remix been like?
Rick Boynton: We had a terrific response to the presentation and are in talks with both commercial and not-for-profit producers. We are producing the show this spring at Chicago Shakespeare Theater and look forward to continuing those conversations.
Q Brothers: It’s been great. We have a lot of new fans because of it. The opportunities are still unfolding, and theater always takes time, so we’ll see!

NAMT News

Festival Show Update: The Boy Who Danced On Air

February 4, 2016

This month, we chat with Festival Alumni Charlie Sohne and Tim Rosser about their 2013 Festival Show, The Boy Who Danced on Air, which is heading to Diversionary Theatre in San Diego this May. This production of The Boy Who Danced on Air is supported by a NAMT National Fund for New Musicals Production Grant, and the show previously received a Writers Residency Grant at New York Theatre Barn.
What was the post-Festival response like to The Boy Who Danced On Air?
Charlie Sohne: I think the big response that we got coming out of the Festival was, “I want to see it with dance!” The world of the show features quite a bit of dance and, beyond that, dance is a fundamental element of how we tell this story — so it was really important to start developing what the choreographic language of the piece was going to be like. We were fortunate enough that right out of the Festival New York Theater Barn (which has long been a really wonderful advocate for the piece) put together a dance workshop for us. It was really exciting to see the work leap off the page and become something more heightened than just a script with music.
Tim Rosser: Since the dance element is so central to the show and was certainly going to require a special touch, we went on a bit of a quest to find the right choreographer. Charlie saw an ad for this piece that Nejla Yatkin was working on called “Oasis: Everything You Wanted To Know About The Middle East But Were Afraid To Dance.” I remember being taken by not just by the beauty of the dance, but by the fact that Nejla often uses clear linear narratives in her dance pieces, which isn’t always the case in modern dance but is, I think, a great advantage in musical theatre. We sent her the script immediately afterwards.

NAMT News

Support NAMT While You Shop This Holiday Season!

December 8, 2015

Did you know that you can help support NAMT simply by doing your holiday shopping online? Just use this link to access Amazon (or go to smile.amazon.com and select NAMT as your charitable organization), and shop as you normally would. Amazon will donate 0.5% of the price of your purchases to NAMT — it doesn’t cost you (or the merchants you’re purchasing from) a thing!

But wait, there’s more! Buying New York theatre tickets? Head to Givenik for discount offers, and we get 5%! They also have group rates on theatre, opera, and even sports!

Finally, if you find yourself with some free time and some opinions over the holiday break, why not fill out a few market research surveys at Opinions For Good? Op4G will pay you for your time (usually just a few minutes and a few clicks), and you decide how much to share with NAMT. It’s easy and fun; everyone wins!

Of course, if you just want to remember NAMT in your year-end giving, you can give here now, or check out all of the ways to support us (including our Players Program and corporate event sponsorship opportunities) throughout the year.
All of us at NAMT wish you the best for this holiday season, and a wonderful start to 2016!

NAMT News

New Work in Progress: The Man Who Murdered Sherlock Holmes

December 3, 2015

This month, we chat with Walter Stearns from Mercury Theater Chicago in Chicago, IL about their upcoming premiere of the new musical The Man Who Murdered Sherlock Holmes, written by John Reeger, Julie Shannon and Festival Alumnus Michael Mahler (How Can You Run…, Fest ’09).
Based mostly on historic fact, with a little fantasy thrown in, The Man Who Murdered Sherlock Holmes begins with Sir Arthur Conan Doyle deciding to kill off his most famous character. When it is revealed that the beloved character of Sherlock Holmes has been killed off, everyone from Churchill to the Queen of England is up in arms. Doyle decides he needs to get out of town and travels to the countryside, but he cannot escape. Sherlock comes to him and haunts him. Next thing you know, the writer and his creation are off solving crimes together.
How did the show find its way to Mercury Theater Chicago?
For the past five seasons, we have had the pleasure of producing the beloved holiday tradition, The Christmas Schooner. The writers ofSchooner came to us with other works which have been in development. This Sherlock Holmes piece has been in development for over 20 years.
In 2012, we lost the very talented lyricist/composer, Julie Shannon to cancer. Her writing partner and husband were very passionate about getting this show into production and they created a special reading just for me. I was profoundly moved by the piece and we started a dialogue about the continued development.
What excited you about this show?
Talent. These are great creators working at the top of their game. The music is catchy, lyrics are smart and the book is filled with humor and heart.
You have an expectation of what a Sherlock Holmes piece might be like, but I was completely surprised at how emotional this story became. It explores great social issues (the false imprisonment of dark skinned people) as well as the crippling sadness when you lose someone you love. There won’t be a dry eye in the house.
What is Mercury Theater Chicago’s history with developing and presenting new work?
This is a first for us at the Mercury Theater Chicago. It is a big risk, but we are banking on the talents of these writers and the draw of Sherlock Holmes.
What sort of development have you done on this show to prepare for its world premiere?
It has received so many readings over the 20 years of development. There are roles written for certain Chicago actors who are now a little too mature for the work. At Mercury Theater Chicago we assembled a dream cast and set them up for two developmental workshops spread out over one year.
Why is the show a good match for your theatre and audience?
It is a chamber musical for smart people. It will feel very intimate and scaled just right for our theater. Our audience is accustomed to listening for smart lyrics and a sentimental story.
Why should people come by the Windy City this winter to solve the case?
This is some of the very best talent Chicago has to offer. The writing team is beloved, and we are giving them their best chance to succeed. We assembled a top-notch cast under the direction of one of our great local treasures, Rachel Rockwell. If you have ever wondered, what is the big deal about theater in Chicago, look no further than The Man Who Murdered Sherlock Holmes, at Mercury Theater Chicago.
Visit Mercury Theater Chicago’s website for more information about their upcoming production of The Man Who Murdered Sherlock Holmes.

NAMT News

Festival Show Update: Southern Comfort

December 3, 2015

This month, we checked in with Festival Alumni Julianne Wick Davis and Dan Collins about their 2012 Festival Show, Southern Comfort, heading to The Public Theater this February for an Off-Broadway run. Southern Comfort is also a past recipient of NAMT’s National Fund for New Musicals grant, having received a Production grant at Barrington Stage Co., a Project Development grant at CAP21 and a Writers Residency Grant at Playwrights Horizons.
Based on the Sundance Award-winning documentary, this heartwarming musical about a group of transgender friends living in rural Georgia is, at its core, a love story between their patriarch, Robert Eads, and newcomer Lola Cola. Through a unique folk and bluegrass-inspired score, the musical chronicles a year in the lives of this unique American family as they courageously defy the odds by simply remaining on the land to which they were born, reminding us that home is where we find comfort in our skin.

What work have you been doing on the show since your production at Barrington Stage Co. (BSC) a couple of years ago?
We learned so much from the excellent and generous audiences and team at BSC.  Based on the reception and feedback, we have been (and continue to) make adjustments to scenes and music throughout the piece.  Many of the changes are subtle and, observed individually, might only be obvious to those very familiar with the previous incarnations of the script, but we feel that the aggregate will significantly strengthen and clarify the story.  This includes replacing at least one of the existing musical numbers in the show with a new song, as well as new orchestrations throughout.  Also, we are not ignoring the fact that since we originally created and presented the piece, there has been an incredibly encouraging growth in awareness around the subject matter.  So, while the narrative will not change (as it is adapted from the documentary and the events still occur in 1998), we know we are speaking to a more informed audience, which we are taking into consideration as we continue to work through the script.We are all very excited that Southern Comfort will be seen Off Broadway this winter at The Public Theater. How will this production differ from your previous presentations?
One of the significant changes with regard to the current production will be in the casting.  With this production, we have been able to make a wider outreach in order to include transgender actors and we are so excited and grateful for that opportunity!  Beyond casting, we are working with our brilliant director, Tom Caruso, and the amazing design team he has assembled in order to deepen and expand the visual and technical aspects of the production.  We’ve been fortunate to work with a team that is always so respectful and thoughtful in their approach and, as a result, the presentations have always seemed to grow organically out of, and into, the presentation space.  The fact that this space will now be the iconic and uniquely intimate Anspacher Theater is all the more thrilling and we can’t wait to see the many beautiful ways that Tom and the designers make it a home for Southern Comfort!Are there any parts of the show you are excited to explore in this new production?
We are so excited about each of the above-referenced points; the casting, the rewrites, the orchestrations and the design.  In addition to each of those things, we simply look forward to expanding our collaboration to include the incredible team at The Public.  The deep wealth of knowledge and support (not to mention the incredible history!) within those walls is irresistibly inspiring.  We truly look forward to continuing to share our thoughts and ideas with this new community of collaborators as we know the result is going to bring even more potency and life to the piece.  So, in short, we are just really excited to explore absolutely everything in the context of this overwhelmingly inspiring environment and community!
What moments in the show are you excited about sharing with a New York City audience?
We’re excited to share every moment of the show with today’s NYC audience as the whole atmosphere around the subject has changed significantly since our last production. In previous productions, we occasionally witnessed reactions to the subject matter that were not always positive and did not allow those audience members to connect fully to the story. We’re grateful for the current opportunity to see many more moments speak to a wider audience and resonate like they never have before.
Why should everyone head to The Public this winter to see Southern Comfort?
Our musical about Robert Eads and his chosen family is universal. Although the subject matter may seem specific to its community, it ultimately is about family and home. The Public has embraced our show in the most beautiful and relevant way possible and we’re confident that audiences will find themselves and their own family in the story.

For more information about Southern Comfort, visit The Public Theater’s website.

NAMT News

INSIDE THE 2015 FESTIVAL: Six Degrees of Theater People

October 7, 2015

A guest post from Michael Federico, librettist of this year’s show On the Eve, written with Seth Magill and Shawn Magill.

NAMT News

INSIDE THE 2015 FESTIVAL: First Day of Rehearsal

October 5, 2015

A guest post from Jeff Talbott and Will Van Dyke, writers of this year’s show Imagine Harry.

NAMT News

INSIDE THE 2015 FESTIVAL: Being a NAMT Veteran

October 2, 2015

A guest post from Festival Alumnus Kyle Jarrow, book writer and co-lyricist for this year’s show Noir, written with Duncan Sheik. Kyle was previously part of the NAMT Festival in 2009 with his show Hostage Song written with Clay McLeod Chapman.

NAMT News

INSIDE THE 2015 FESTIVAL: Preparing for Rehearsals

October 1, 2015

A guest video post from Jeff Bienstock and Andrea Daly, the writers of this year’s show Legendale.

NAMT News

This Ain't No Quick Change: New Forms and Opportunity

October 1, 2015

For Samuel French and HowlRound’s #MusicalsWeek, New Works Director and Festival Producing Director Branden Huldeen has an essay on HowlRound about New Forms of Musical Theatre. How is the art form evolving? Where are those changes coming from? How are we able to make change happen? …Should we?

So what is bringing the best new forms and changes to theatre? The work is slowly starting to reflect life and culture more accurately and respectfully. Theatre is becoming more diverse, and while it is by no means as diverse as society currently is, it is slowly getting better. Just look at my examples above and those shows would likely not have happened twenty years ago.
You also have contemporary writers in the theatre who grew up influenced not only by theatre but by the music of Ben Folds, the cinematic sweep of a great Spielberg film and the comedy of 30 Rock. Because our culture diversified, theatre had to diversify or it would not be true to who we are as people living in 2015. Unfortunately, theatre is slow to change on a macro scale. I always refer to our industry as a gigantic ocean liner; if you want to avoid that iceberg, you need to start turning the wheel many months or years in advance.

Read more at HowlRound.
This is part of a week of panels and writing about musicals, led by our friends at HowlRound and Samuel French. Later today, at 2 pm ET, we’ll be leading a Twitter chat on this same topic of New Forms of Musical Theatre. You can follow along (even if you don’t have a Twitter account) and participate at #HowlRound. (We’ll post a transcript afterwards, in case you can’t join us live.)
The panels are being live-streamed, so you can watch tonight’s (also on this topic, and featuring Branden live and in person) and ask questions through Twitter, and also catch the earlier programs: Promotion and Protection of Musicals, and Diversity and Equality in Musical Theatre. Check out HowlRound TV for these, and more great content from HowlRound.
Thanks to all who’ve participated in this amazing series! NAMT members, don’t forget we have our own conference coming up in just a couple of weeks, so there’s plenty more new musicals talk to come. We’ll be touching on many of these same topics, so register by October 9 to attend, and follow #NAMTFC15 on Twitter.

NAMT News

Festival Show Update: Ace

September 29, 2015

This month, we checked in with Robert Taylor and Richard Oberacker about a new version of their 2005 Festival show Ace, which recently had a staged concert production at The Nevada Conservatory Theatre after a few years of revisions. We also chatted with Ace director David H. Bell (below writers’ interview).
Set in 1964, ACE follows the journey of twenty-one-year-old Danny Lucas returning home to discover the truth about his mother’s hidden past. The unexpected appearance of a grandmother he never knew existed leads to an emotional battle over the legacy of Danny’s real father. Uncovering a saga spanning three generations of Ace fighter pilots through two World Wars, this original musical explores the trials and triumphs of a family in search of true heroism.

Ace had quite the extraordinary trajectory right after the 2005 Festival with a handful of full productions starting in 2006 leading up to a production at The Signature Theatre in Arlington, VA. But this was a unique situation where you went in to rehearsals for a full production without ever really having done a reading or a workshop. What did you learn about the show as you worked your way through the multiple productions?
We learned that the core story of the three generations of this American family and the score they sang resonated deeply with audiences. We also learned that the central character was entirely passive with no control over his destiny and without true stakes or even an identifiable antagonist. And we learned that the majority of the first act was expositional and that the stories of the past didn’t arise organically from the present. Perhaps the most striking thing we discovered was that by deciding to have a lead character who was a child, it demanded there be a host of other ancillary characters to provide the realistic infrastructure for a child’s needs which naturally confused and diffused our central story.

NAMT News

Additional Casting and Directors Announced for the 27th Annual Festival of New Musicals

September 28, 2015

We’re thrilled to announce additional directors and casting for the 27th Annual Festival of New Musicals, taking place on Thursday, October 15 and Friday, October 16 at New World Stages (340 West 50th Street, between 8th and 9th Avenues).
Costs of Living
Book, music & lyrics by Timothy Huang
Director: Marlo Hunter (Callaway Award-winner for Unlock’d)
Cast: Jenni Barber (Broadway: The Nance), Kiet Cao, Daniel J. Edwards (Broadway: Anything Goes), Ali Ewoldt (Broadway: Les Misérables), Raymond Lee (Broadway: Anything Goes, Honeymoon in Vegas), and Kelvin Moon Loh (Broadway: The King and I)
Based on a true story, COSTS OF LIVING chronicles the lives of two immigrant cab drivers who come to New York for the American dream but instead find a nightmare scenario. Set to a rock and pop theatre score, featuring a predominantly Asian-American ensemble.

Imagine Harry
Music & lyrics by Will Van Dyke, book & lyrics by Jeff Talbott
Director: Brandon Ivie (Off Broadway: Jasper in Deadland)
Music Director: Ian Weinberger (TV: “The Sound of Music Live”)
Cast: Brad Oscar (Broadway: Something Rotten, The Producers), William Parry (Broadway: Passion, Gypsy), Preston Sadleir (National Tour: Next to Normal), Myra Lucretia Taylor (Broadway: Nine), Taylor Trensch (Broadway: Wicked; Off Broadway: Little Miss Sunshine)

The Last Queen of Canaan
Book by Harrison David Rivers, lyrics by Rebekah Greer Melocik, music by Jacob Yandura.
Director: Peter Rothstein (Power Balladz, Artistic Director of Minneapolis’ Theater Latté Da)
Music Director: Matt Gallagher (Broadway: Doctor Zhivago, Hands on a Hard Body)
Cast: Chasten Harmon (Broadway: Hair), Kecia Lewis (Broadway: Leap of Faith, The Drowsy Chaperone), Kenita Miller (Broadway: The Color Purple), Jon-Michael Reese (National tour: The Book of Mormon), Margo Seibert (Broadway: Rocky), Q. Smith (Broadway: Mary Poppins)

Legendale
Music by Andrea Daly, book & lyrics by Jeff Bienstock, story by Bienstock & Daly.
Director: John Simpkins (Off Broadway: Bloodsong of Love at Ars Nova).
Music Director: Vadim Feichtner (Broadway: …Spelling Bee)
Cast: James Monroe Iglehart (Broadway: Tony Award-winner for Aladdin), Lauren Marcus (Hello, Dolly at Papermill Playhouse), George Salazar (Broadway: Godspell), Ryan Vona (Broadway: Once), Jason SweetTooth Williams

lift
Book & lyrics by Daryl Lisa Fazio, music by Aaron McAllister
Director: Schele Williams (PBS’s Broadway or Bust)
Music Director: Madeline Smith (Off Broadway: Futurity, An Octoroon)
Cast: Joél Perez (Broadway: Fun Home), Lauren Worsham (Broadway: A Gentleman’s Guide to Love and Murder, Tony Nom)

Noir
Music & lyrics by Duncan Sheik, book & lyrics by Kyle Jarrow
Director: Chloe Treat (Off Broadway: TheaterworkUSA’s The Lightning Thief) with Rachel Chavkin (The Great Comet, Prelude)
Music Director: Jason Hart (Regional: Because of Winn Dixie; Whisper House)
Cast: Lilli Cooper (Broadway: Spring Awakening), Daniel Everidge (Broadway: Grease), Kevin Mambo (Broadway: Fela!), John Schiappa (Broadway: Rocky), Emily Skeggs (Broadway: Fun Home, Tony Nom.), Theo Stockman (Broadway: Hair, American Idiot), Adrienne Warren (Broadway: Bring It On), with Foley Artist Jeremy Bloom (Off Broadway: The Mysteries)

On The Eve
Music & lyrics by Shawn Magill & Seth Magill, book by Michael Federico, story by Michael Federico, Shawn Magill & Seth Magill
Director: Sam Buntrock (West End & Broadway: Sunday in the Park with George, Olivier Award and Tony Award noms)
Cast: Will Connolly (Broadway: Once)

Othello: The Remix
Book, music & lyrics by The Q Brothers (GQ and JQ), developed with Rick Boynton
Director: Brian Hill (Goodspeed Musicals’ The Theory of Relativity)
Cast: GQ (The Bomb-itty of Errors), JQ (The Bomb-itty of Errors), Postell Pringle (Broadway: A Free Man of Color), Jackson Doran (A Q Brothers’ Christmas Carol, Chicago Shakespeare’s Funk It Up About Nothin’)

Registration for the Festival is open to theatre industry professionals and major donors to NAMT through October 9. For more more information on registration (including walk-up), plus details on all eight Festival shows, the Songwriters Showcase and the Songwriters Cabarets, visit the Festival web page now, or email festival@namt.org.

NAMT thanks the following foundations, government agencies and organizations for their ongoing support of our programs: ABE Charitable Foundation, The Alhadeff Family Charitable Foundation, The Alliance of Resident Theatres/New York Creative Space Grant, ASCAP Foundation Irving Caesar Fund, BMI Foundation, The Dramatists Guild Fund, Friars Foundation, National Endowment for the Arts, New York State Council on the Arts, The Noël Coward Foundation, The Purple Plume Foundation, The Rodgers and Hammerstein Foundation, Stacey Mindich Productions and The Shubert Foundation.