Lyric Theatre of Oklahoma‘s New Works Initiative was developed to allow the theatre to commit to producing world premiere musicals. Through this program, Lyric supports the future of musical theatre, and is helping make Oklahoma a home for new musical development. NewsOK took a look into Lyric’s newest premiere, Mann…And Wife, to explore the evolution of the New Works Initiative and Artistic Director Michael Baron’s vision for the program.

The modern dating comedy “Mann … And Wife” marks the third world premiere production in three seasons for Lyric, after the 2014 musical mystery/romance “Triangle” [NAMT Fest 2012] and last year’s period piece “Bernice Bobs Her Hair” [NAMT Fest 2011]. Continuing through Feb. 21 at Lyric’s cozy Plaza District theater, the romantic comedy is part of the New Works Initiative Baron has championed at the more than 50-year-old company.
“I feel as a not-for-profit and a vibrant arts institution we should be adding to the canon of musical theater and that other places should be doing musicals that premiere here in Oklahoma. And that’s already beginning to happen,” Baron said in an interview.
“Some theaters have large reading series, some of them do lots of workshops, and I feel like the best use of our space and time is to actually do either the first kind of development production or the actual world premiere on its feet. Because there’s lots of new musicals and rarely do they get to get on their feet with costumes and all that. … And for us, it’s almost just as expensive to bring out the entire group for a workshop, so we might as well put it on the stage and do a full production.”

Photo: From left, Mateja Govich, Zachary Prince and Liz Shivener rehearse a scene from Lyric Theatre’s new musical “Mann … and Wife” at Lyric at the Plaza, 1727 NW 16th St., in Oklahoma City, Friday, Jan. 22, 2016. Photo by Nate Billings, The Oklahoman.

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Festival Shows in the News


Watch Rehearsal of Triangle

Check out video of the sitzprobe for TheatreWorks Silicon Valley’s world premiere production of Triangle (Festival 2012).

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Historical Musical Theatre Sightseeing

TheatreWorks Silicon Valley’s Managing Director (and NAMT Board member) Phil Santora was in New York with his partner Christian, and they paid a visit to the former Triangle Shirtwaist Factory building to take a selfie with the postcard from TheatreWorks’ upcoming world premiere production of Triangle (Festival 2012).

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Festival Shows in the News



An interview with Tom Mizer and Curtis Moore, writers of 2012 Fest show Triangle, about the development of the show and their upcoming production at Lyric Theatre of Oklahoma in the spring.

Logo for the Lyric Theatre workshop production

Triangle is an original romantic drama that weaves together the story of two couples from different eras — in 1911 a Jewish seamstress and her Italian foreman, in 2011 a chemistry grad student and a free-spirited stranger who has broken into his lab. It all takes place in the same building, the site of New York’s infamous Triangle Factory Fire. Although the facts of the Triangle fire are tragic, the musical is full of humor, love, mystery and emotion. In the end, it’s not about grief — it’s about moving beyond the past to find joy in the here & now — how we need to take a risk and reach out to another person.

What was the response like to the show at the Festival? 
The response to Triangleat the Festival was incredibly warm and positive. Once we could actually breathe again after the terror of our first presentation, we were so grateful that the audience seemed to fall in love with the characters as much as we have. The best part, more than any of the productive conversations about “next steps,” was seeing people emotionally affected, truly moved — and from just a cutting at music stands. Honestly, with just 40 minutes to tell our multiple stories, we would have been thrilled if people had simply followed the time period jumps without their heads exploding — but to have people also getting a good cathartic cry at 11am at New World Stages, that was amazing!  It gave us such encouragement to know that the story we are telling can move people and that it belongs in a live theater where people can experience it together. 

You were rewriting leading up to the Festival. How much did the Festival presentation influence your continued work on the show? 
It was essential and transformative. Doing a 40-minute cut of the piece forces you to get to the heart of the show, to figure out what really matters in each scene and get rid of everything else. When we went back to the full script, we wanted to keep that momentum and focus – get rid of extra complications, cut the chit chat and get to the emotion and the conflict.  As much as we may enjoy a page long conversation about the retrosynthetic analysis of haplophytine, it’s not the chemistry people come to the theater for… though Curtis will perform it for you if you ask him nicely.

What has changed with the show since the Festival? 
Our Festival experience confirmed what we’d been feeling since our readings at TheatreWorks Palo Alto. Since then we’ve been focusing on the first 20 minutes of the
show to clean out the excess plot, jump into the heart of the story more quickly and make Brian’s (our leading man) problem clearer and simpler to engage with. More specifically, there’s a new opening number (with two other new songs in the works as well), one strand of Brian’s plot has been completely removed, we’ve allowed Brian to start the show from a more positive place so he has further to travel emotionally and we’ve reconfigured when we transition from present to past so that you live in each time period a bit longer (and have time to get emotionally invested) before jumping back and forth.

Lyric Theatre of Oklahoma will be presenting a workshop production of Triangle this spring. Tell us a bit about this production and what you hope to achieve.
In Oklahoma, Brian is not a singing chemist; he will be a singing cowboy. Seriously, we are so excited to be working with Michael Baron and everyone at the Lyric. We will be heading out to Oklahoma in March for an extended rehearsal period, to workshop the new draft on its feet. The public performances will have full costumes and lights and sets and there will be a 6-piece orchestra! The chance to hear those big romantic melodies on some strings… it’s going to be so emotional for us. The big goal is to “write” the physical world of Triangle, to work through how we transition from the present to the past on stage. In readings, we can simply read a stage direction (“it is now 1911” and presto) but on stage, how do we make those transitions magical and theatrical and meaningful. And on a practical level, can Ben get into his Vincenzo costume in the two lines that we have on the page for him to change or are we going to end up with Bencenzo?

Why should people head to Oklahoma to catch Triangle up on its feet? 
Well, first of all we’ve heard that the facilities at the Lyric are first-rate, so you’re going to get a great-looking and-sounding show. But I think the big thing is that the story of Trianglemay work in a reading but you’re always missing out on some of the magic of it, the theatrical elements that are just as important to the themes and story as the book and score. This show is about theatricality; the script has always had stage directions that emphasize what can only happen in a live theater experience… and they are finally going to happen. It’s about the moments when the present slides into the past, where ghosts appear and the past reaches to try to touch the present, where one actor with a slight change of posture or a single prop becomes another character right in front of the audience.  It’s going to be challenging work for all of us to figure out how to do it right, but I think it will be exciting for the audience to see the show take those leaps at last. 
For more information on Triangle, please visit 

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We are honored to announce this year’s recipients of our National Fund for New Musicals grants. Now in its fifth year, the National Fund has distributed 56 grants totaling $234,000 to non-profit member theatres around America.
A special thanks to our funders including Stacey Mindich Productions, The Alhadeff Family Charitable Foundation and The ASCAP Foundation. This fund would not be possible without their contributions. If you are interested in supporting theatres developing new musicals around the country, please consider making a contribution to our National Fund for New Musicals.

National Fund grants of $10,000 to support full productions have been awarded to:
Barrington Stage Company
(Pittsfield, MA) for Southern Comfort by Dan Collins and Julianne Wick Davis. This project previously received a Project Development Grant in support of its time at CAP21, a Writers Residency Grant for its time at Playwrights Horizons and was presented in NAMT’s 2012 Festival of New Musicals.
Transport Group (New York, NY) for The Memory Show by Sara Cooper and Zachary Redler, with support from Stacey Mindich Productions. The Memory Show was presented in NAMT’s 2009 Festival of New Musicals. 

National Fund grants between $2,500 and $5,000 to support a workshop or reading have been awarded to:

Chicago Shakespeare Theater (Chicago, IL) for Summerland by Laura Eason, Jenny Giering & Sean Barry. Giering is an alumna from NAMT’s 2005 Festival for Princess Caraboo.
Dallas Theater Center (Dallas, TX) for The Fortress of Solitude by Itamar Moses and Michael Friedman, with support from the ASCAP foundation. Itamar Moses is an alumnus from NAMT’s 2012 Festival for Nobody Loves You, which also received a Project Development Grant in 2011-2012 in support of its time at The Old Globe.
Human Race Theatre Company  (Dayton, OH) for The Noteworthy Life of Howard Barnes by Michael Kooman and Christopher Dimond with support from The Alhadeff Family Charitable Foundation. Kooman and Dimond are alumni from NAMT’s 2011 Festival for Dani Girl.
Lyric Theatre of Oklahoma (Oklahoma City, OK) for Triangle by Thomas Mizer and Curtis Moore with support from Stacey Mindich Productions. Triangle was presented in NAMT’s 2012 Festival of New Musicals.

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“On The Road To NAMT” will be a special sub-series of the Festival Countdown featuring blogs from Tom Mizer (Book & Lyrics of TRIANGLE) that will also be featured as part of his blog The Broadway Blog.  This is Tom’s second entry in the series. 

William Ryall, Robin de Jesus, Sarah Stiles, Damon Daunno, Nancy Opel & Nicolette Hart rehearsing “Bleeding Love”. Photo by Jason Schafer.

Writing musicals can be a lonely business. Most of the time it’s just you and a collaborator in a room together. So when I was presented with the chance to talk with a few of my fellow writers presenting shows at NAMT this year, I jumped at the chance. If nothing else, it would be like group therapy. But rhymed.
Just over a week ago, I sat down with two amazing writers: Gaby Alter, composer and co-lyricist of the recent Old Globe hit Nobody Loves You; and Harris Doran, lyricist for the post-apocalyptic fairy taleBleeding Love. With presentation preparations hitting high gear, we took a brief moment to breathe, talk about our inspirations and discuss the best part of writing versus acting in a musical (hint: booze).

Gaby Alter. Photo by Stephen Mallon.

When did you get the bug to write music theater because…how old are you?
GABY: Old.
HARRIS: I’m younger.
GABY: Usually people are younger than me.
HARRIS: You look younger.
GABY: Well, thank you.
And I’m the oldest one in the room so shut up.
HARRIS: But you look younger than me.
That’s staying in the final interview.
My point is that when I look back and think about when I was in high school and college, music theater was not popular. There’s a renaissance right now…
HARRIS: Is there? Because of Glee?
When I talk to an 18 year-old or a 22 year-old, within a certain segment, they think music theater is cool.
HARRIS: True. There are musical movies now and Glee and something else…
And Smash. There are certainly now people wanting to get into the field. An excitement. And that wasn’t so much the case when I was that age. So how did you start?
GABY: It was sort of an accidental thing, a convergence of stuff that I did. It was after high school and I had a friend who wrote plays. He was like, “Want to write a musical?” It was over the summer. Neither of us were musical fans. It’s not like I hated musicals, I just knew very little about them except what I knew as kid. I knew the Rogers and Hammerstein stuff. He said, “Do you want to write a rock musical?” And I said, “Yeah, sure.” But I thought it was a ridiculous idea.
GABY: I also didn’t think we were going to do it. Especially when you’re 17 or 18, you say so but…actually he had a whole plan and he was very organized. He came over the next day and had some lyrics.
HARRIS: Oh wow.
GABY: So we ended up doing it over that summer. And it was the high of doing it. “Let’s get our friends who were actors in high school and involve everybody.” And you invite your family and you feel really cool because you’re all of a sudden on stage. I hadn’t had that experience except in a band. But it was easier for me to write stuff in that format. I was writing with him. “You do this and I’ll do that.” There are clear guidelines. Like fun homework. I really responded to collaborating and working as a group… Later I came to appreciate musicals and how difficult writing the really good ones is.

We can all second that.
HARRIS: I had no idea.
GABY: What about you guys?

Harris Doran. Photo by Chris Pereira.

HARRIS: I’m an actor. I’ve done musicals over the course of my career. But mostly I’ve done plays and more recently films. I’ve always written, even as a little kid, I wrote poetry. It was recommended to me that I go to BMI (Lehman Engel Musical Theatre Workshop) and I was like, “I don’t know.” I ended up having the interview for BMI and still hadn’t written anything so I spent the night before writing some stuff…
HARRIS: I went in there with my lyrics and I acted them out for them and I got accepted. I thought, “OK, I guess I’ll do that.” I didn’t take it seriously. Got some good feedback but still couldn’t care less and then I was assigned to Arthur, who is still my writing partner, and we were paired up to write an assignment on It’s a Wonderful Life. We wrote this rock song. I went through and thought, “This movie is so boring.”
HARRIS: But there was this one tertiary character who’s got this idea, “You’ve got to have plastic.” And he comes back all rich at the end so we wrote this song called “Plastic is Fantastic” which was killer and I thought, “Maybe I can do this.” And I kept going.
You saw you could come at musicals from a different angle.
HARRIS: Exactly.
Same thing for you, Gaby, coming at it from a rock/pop angle.
HARRIS: Over time, it has given me something else to put my energy into. If I’m not acting, I’m writing. And I usually forget that I do the other while I’m doing the one. I say I’m an actor and I feel like I’m a liar. Then I’m writing and I feel like a liar because I’m an actor.
Didn’t you find that, because I was at a similar fork in the road, that writing is something I can do wherever, whenever I want. No one has to hire me as a writer. And I loved that I could go home and be creative.
I mean, I could go home and do my monologues but the roommates don’t really want to hear you doing that Brighton Beach Memoirs monologue again.
HARRIS: (in perfect Simon accent) “Two up, bases are loaded…”

Harris Doran in “Brighton Beach Memoirs”. Image via the Pioneer Theatre Company.

I played a lot of young Jewish boys. Look at me. How that happened I have no idea. But in the Midwest…
HARRIS: …this is as close as it gets.
Gaby, you spoke of R&H. Is there some show of theirs that you are able to look at now, with experience, and you do see it as a goal?
GABY: I went to Tisch; the graduate musical theater program there is really good. It got me thinking about the classic musicals and why are they classic. And then I saw South Pacific at Lincoln Center and I remember thinking I was very skeptical about it. I know their stuff is good but…it seems a little bit schmaltzy and dated. But it wasn’t those things. It was a romantic musical but it wasn’t cheesy. It looks at racism and it looks at death. And they were great songwriters… I wouldn’t write like them now but you can see the things that were at stake.
HARRIS: Did you see that Carousel revival? Lincoln Center years ago?
GABY: It was good?

Lincoln Center revival of “Carousel”. Photo by Joan Marcus.

HARRIS: Oh yeah! There might be a video at Lincoln Center library. If you liked that South Pacific revival, thatCarousel was unbelievable.
What blew me away was…you think of all those songs that you’ve heard, but the way they are woven through scenes is so modern. They don’t stop to just sing one of those pretty songs; they flow through the scenes. I hadn’t realized…
HARRIS: And those shows were written very quickly. Now we spend years and years writing and developing with everyone’s opinions. We actually wrote this musical [Bleeding Love] in less than a year. We talked a lot about The King and I, which I guess they had the entire structure worked out but started rehearsals without a second act and they wrote the second act while they were rehearsing. If you take the time to focus on the structure before you write a word then you save yourself a lot of rewrites later…
That sounds like heaven.
HARRIS: If you write a show without everything figured out ahead of time, you write a song and you’re like, “Wait, that song is 5 degrees off.” It’s not like it’s the wrong song. It’s almost…but you’re f*cked…oh…
You can say f*cked, it’s fine.
HARRIS: If that little wrong is the core of the song, then you’re screwed.
GABY: It’s true. Figuring out structure is smart… But sometimes it’s a matter of knowing what it is. The last few musicals I’ve worked on we didn’t know. It’s sort of developing its own tone and world as you write. The one I’m working on now with Itamar, he’s very good at structure, but structure also changes or in this case changed as we did it.
Harris, would you ever want to act in your own stuff?
HARRIS: (beat) I don’t really want to do musicals.
And why is that?
HARRIS: You can’t drink.
HARRIS: It’s a lot of worrying about your voice. It’s a lot of work.
They work hard.
HARRIS: They work hard.
HARRIS: I don’t love doing musicals. I love the idea of musicals. I love watching them.
Which music theater performers do you look at — do you think have the acting chops and the musical talent to pull it off?
HARRIS: Vicki Clark. I thought that Alice Ripley was amazing in Next to Normal. Tanya Pinkins inCaroline or Change… I like a performer that is risky. I like the cast that we’ve got [for Bleeding Love]. They’re a bunch of quirky, interesting performers. It took us a while to find these people because we were like, “No, much quirkier, much weirder.”
HARRIS: We wanted people who would jump at it and bring it to life… You guys have had workshops and productions?

Adam Kantor and Old Globe Cast of “Nobody Loves You”. Photo by Henry DiRocco.

GABY: We had a production in May in San Diego.
HARRIS: And you applied to NAMT?
GABY: We applied because we didn’t know what was going to happen after the production. These days, unless you have a producer signed on, as I’m sure you know, it’s up to you to find the next thing. Depending on how it works out, we wanted other people to see it and we didn’t know if they’d come out to the West Coast. We found out we got in [to NAMT] during the production and we thought, “Well, good!” How about you, guys?
Our [journey] is harder to describe. Triangle is at an earlier stage because we haven’t had a production yet. Basically, the show existed for a while [with drafts in 2005 and 2006] then it went on a shelf because of a bookwriter issue. [After a number of years], the show became ours to work on again and we did a reading of it at Northwestern last year, testing a completely new half of the story. The modern half of the story we totally rewrote. We thought, “this can work,” so we started applying for stuff to do this year. We applied to NAMT and got into TheatreWorks at the same time. We did a two-week workshop at TheatreWorks [in August]; you do a reading, rewrite for a few days, do a reading, rewrite and reading. It’s sort of a natural progression to be here now…
HARRIS: We’ve never even had a reading of our musical, other than me and the bookwriter. We were pretty good, though.
GABY: Awesome.
That first presentation is going to be so exciting.
HARRIS: Monday [the first rehearsal] is going to be exciting when we have actors.
You’ve never had actors read it?
HARRIS: No one. The only actor that’s ever read it is me. It’s going to be so exciting to have an amazing cast do the first reading.
What’s your favorite part of the process when you’re writing, from the moment the idea comes up to presenting to an audience?
HARRIS: When it’s being performed.
You like that? I find it maddening.
HARRIS: Really, why? Because you feel like it’s not being interpreted how you intended?
No. No. Because I want to be involved — maybe because I was an actor at one point – and that’s the part I have to sit back and twiddle my thumbs. I get so nervous.
HARRIS: I’m really excited about what an actor can bring.
Oh, I totally get that.
HARRIS: I get a feeling of pride, not in my work, but in them. Look at them shine. I really like that.
Gaby, what’s your favorite step?
GABY: God, I don’t know. The cocaine.
The party after.
HARRIS: The money.
(sustained laughter)
GABY: No. It sort of depends. I had done a production with Band Geeks but somehow with Nobody Loves You it felt more…no they were both momentous. Make or break. I was terrified. I was sh*tting myself. We’ve worked on this for five years… you’ve crawled over broken glass to get there and actually this might go wrong… I don’t think that part is fun. You know, it might be when you are in rehearsal and everyone’s all in to it and you stage a number for the first time and you’re like, “Oh my god, that’s so much better than I would have imagined.” And the actors are like, “Yeah, that’s awesome!” And there’s no audience there to say, “What is this sh*t?”
We’ll find out how those presentations go, harrowing or triumphant, this Thursday and Friday in New York City. 

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FROM THE ROAD: A Coast to Coast Summer

One of my favorite parts of my job is getting the chance to visit our members around the country.  There is no better way to take the pulse of the industry and help discover new ways for us to serve our members than to meet them on their home turf, see their shows and meet their staffs.  Summer is the busiest travel time for the NAMT staff because it is when the number of shows skyrocket in our member theatres.  My summer was filled with 10 productions (7 of them premieres),  2 workshops and 6 readings from New York to California, from Vermont to Tennessee.  We a few Festival shows and National Fund for New Musicals (NFNM) grant recipients along the way.

Here is the quick rundown (NAMT member theatres and Festival shows are bolded blue):


Los Angeles, CA- World premiere of Los Otros at Center Theatre Group 
San Diego, CA- World premiere of Nobody Loves You (NAMT Fest ’12, past NFNM Project Development Grant) and Scottsboro Boys at The Old Globe, world premiere of Hands on a Hardbody at La Jolla Playhouseand the chance to sit in on a rehearsal for Harmony, Kansas (NFNM Production Grant, past Writers Residency Grant) at Diversionary Theatre.
New York, NY- World premiere of February House (past NFNM Project Development Grant) at The Public Theater, reading of Suprema (NFNM Writers Residency Grant) at Ars Nova and Speargrove Presents (NFNM Writers Residency Grant) at New York Theatre Barn

Connecticut- Readings of When We Met and String at The O’Neill Theatre Center, production of Mame at Goodspeed Musicals

New York, NY- Production of Triassic Parq (by Festival alumnus Marshall Pailet) produced by Amas Musical Theatre and New Musical Development Foundation at SoHo Rep  
East Haddam, CT- Final dress of Carousel at Goodspeed Musicals
Poughkeepsie, NY- Workshop of Murder Ballad (by Fest alumna Julia Jordan) at Vassar Powerhouse


Rhinebeck, NY- Reception for Beatsville (NAMT Fest ’08) at Rhinebeck Writers Retreat
Palo Alto, CA- TheatreWorks Festival of New Works with readings of Being Earnest and Triangle (NAMT Fest ’12) and a developmental production of The Trouble With Doug (NAMT Fest ’10)


New York, NY- Reading of notes to MariAnne (NAMT Fest ’11) at New York Theatre Workshop
Weston, VT- World premiere of Pregnancy Pact (NAMT Fest ’11) at Weston Playhouse Theatre Co.  
Crossville, TN- Regional premiere of Golden Boy of the Blue Ridge (NAMT Fest ’11) at Cumberland County Playhouse
New York, NY- Broadway Bound concert at Merkin Hall featuring songs from Watt?!? and The Dogs of Pripyat, both from the 2011 Festival 

And I am pretty sure I am missing a few.

I got a lot more out of these trips than a wallet full of receipts and slight confusion as to my time zone.  I was fortified in my belief that our members and alumni are creating, producing and exploring the best musical theatre in the country.  They are continually engaging, challenging and building audiences through their great work.  They are not resting on their laurels but pushing forward.

It is very hard to find a show today that does not have the NAMT stamp somewhere on it…and that makes me very proud to be just a small part of any show that adds to the crazy tapestry of musicals across the country.  The great work continues all over the country, and I’m the lucky one who gets to take in at least a fraction of it.

Branden Huldeen
New Works Director

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“On The Road To NAMT” will be a special sub-series of the Festival Countdown featuring blogs from Tom Mizer (Book & Lyrics of TRIANGLE) that will also be featured as part of his blog The Broadway Blog.  
If anyone asked me what to look for in a great composing partner, I’d tell them to seek out many of the qualities of my own long-time collaborator Curtis Moore. Find someone who is talented (clearly), fun to be around (long hours together in small rooms), committed (to the theater, not a mental institution) – and, most importantly, someone who has a degree in electrical engineering. Seriously, skip Juilliard and start trolling MIT.

Kooman & Dimond prep 2011 NAMT Festival’s “Dani Girl”. Image via

As we dive into preparations for our NAMT Festival presentation, I have realized that this is a highly technical operation. Just gathering our team for a prep meeting is like tasking a bunch of liberal arts students with landing the Rover on Mars. I’m in Brooklyn; Curtis is music directing a show in Kansas City; our music director was in Pittsfield, MA; our festival consultants (NAMT members assigned to shepherd us through the process) are based in Chicago and Princeton; and our fearless director was in transit somewhere in the American Southwest (though, at times, even she wasn’t sure exactly where).
We have to use scheduling programs to find overlapping minutes across time zones and rehearsals. We must turn to web chat, skype and conference call technology to simulate round table discussions.
To cast the show, we don’t need a casting director; we need an I.T. expert. Headshots are emailed. Song files are downloaded. YouTube videos are shared. (A free bit of advice to any actors reading this; type your name into YouTube and clean house. This is how you “audition” now. If there is a seemingly drunk karaoke version of “Love is a Battlefield” anywhere near the top of your page, remove it…unless you are interested in being seen for Rock of Ages.) In fact, we will likely have not met nor even seen in person some of our actors until the first day of rehearsal.
Even the act of writing is a tech game. The NAMT presentations are 45-minute cuttings so we are currently trying out different versions of a script that will give a flavor of the show and still feel like a coherent event. This requires a lot of trial and error. We use online drop boxes and “versioning” software to keep track of and give everyone on the team access to different drafts. (Do I sound like I know what I mean in the last sentence? I don’t. Ask Curtis.) We are also prepping some new song demos which Curtis will capture and mix remotely on a laptop recording studio far from a sound proof booth and an orchestra.
And I haven’t even touched on the need for publicity through social networking, reminding the industry to come, and so much more. It’s a brave new world. To be in music theatre today, the genius bar you need to reach is less Sondheim and more Apple Store.

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We are so excited to welcome many of this year’s directors and musical directors for the Festival!  
Bonfire Night will be directed by Sam Buntrock (Tony nominated for the revival of Sunday in the Park with George) with music direction by Kimberly Grigsby (Spring Awakening).
Funked Up Fairy Tales will be directed by Jerry Dixon (who directed Red Clay in ’10 and Barnstormer in ’08 for us) with music direction by Steve Marzullo.
Nobody Loves You will be directed by Michelle Tattenbaum who directed its premiere at The Old Globe.
Sleeping Beauty Wakes will again be directed by Rebecca Taichman, who also helmed the McCarter Theatre and La Jolla Playhouse productions.
Southern Comfort will be reunited with the director and music director from their CAP21 workshop production last fall, Tom Caruso and Emily Otto, respectively.
Triangle will be directed by Meredith McDonough, who is directing a reading of it this weekend at TheatreWorks Silicon Valley.
The rest of the directors and music directors will be announced in the coming weeks.
Click here to read’s article about our creative teams.  
It is so great to have so many people returning to the Festival and to welcome many new faces as well!

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