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Festival Show Update: Beatsville

Beatsville, written by Wendy Wilf and Glenn Slater, appeared in the 2008 NAMT Festival. The show is now preparing for its world premiere in a co-production with NAMT member the 5th Avenue Theatre and Asolo Rep Theatre. This month, we caught up with the writers to hear about the work they’ve done on the piece since the Festival leading up to this premiere.

What was the response to Beatsville like after the 2008 Festival?
We had a great Festival—our cast was spectacular, and made the show look fantastic—and we received a hugely gratifying outpouring of interest from various theatres and organizations who wanted to help us take the next step forward. We sort of fumbled the ball a little—we felt that we still had some writing to do, and weren’t sure what that next step should be, and then we got swept up in other projects. Luckily for us, when we were finally ready to move forward, there was still a lot of goodwill in the community from people who remembered it from the Festival, and they proved instrumental in helping us get the show back on track.

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Broadway's Most Sought-After Young Star Is A NAMT Member

The NAMT staff had heard of the legendary Broadway baby Twan Baker, of course, but until last week’s in-depth New York Times profile of him, we didn’t realize he had such deep NAMT roots! From the Times:

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NEA Will Award Over $82 Million in Grants

The National Endowment for the Arts has recently announced that it will award over $82 million in grants to fund artistic projects and research, with $2,735,000 going to companies working in the field of “Theater & Musical Theatre.” Many NAMT members have been selected to receive grants in the NEA’s 50th anniversary year, including NAMT itself, in support of our Festival of New Musicals and Fall Conference. Congratulations to those members receiving grants in this second announcement of NEA funding, including:
Barrington Stage Company
CAP 21
Chicago Shakespeare Theater
Goodspeed Musicals
The Old Globe
Pace University
Paper Mill Playhouse
The Public Theater
Theater Latté Da
Walnut Street Theatre
Weston Playhouse
To view a full list of the grant recipients, visit the NEA’s website. Congratulations, all!

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Festival Show Update: ANALOG AND VINYL

Festival 2013 show Analog and Vinyl is jumping up to Vermont’s Weston Playhouse this summer for its world premiere. This month we check in with the show’s writer Paul Gordon about preparing for the musical’s first production.  
Harrison is obsessed with LPs from the sixties and the superior quality of analog. Rodeo Girl, a quirky Silver Lake hipster, is obsessed with Harrison but he barely notices. With his vintage record store about to go under, Harrison and Rodeo Girl are visited by a mysterious customer who makes them a devilish offer they can’t refuse.
What did you learn about Analog and Vinyl while preparing it for the Festival? 
Preparing for the Festival wasn’t as much a learning experience as it was an “inspiring” experience. Once you know your show is going to be seen by an industry audience, it does strange things to the creative process. You start looking at the material with more fluid eyes. You start questioning and examining the material (all while trying to create a 45-minute presentation), and suddenly you begin asking yourself the serious dramaturgical questions of theme and character (that you had previously avoided) that are vital to the developmental process. One of the great gifts that came out of my preparation for the Festival was that I felt incentivized to write a new song for the lead character that helped to transform the show.
Your show only had readings leading up to the Festival and now is preparing for a world premiere this summer at Weston Playhouse. What has it been like to jump from reading to production without a workshop in between?  
Heaven. I love workshops and readings but there’s nothing like preparing for a production. In our day and age some have been critical that shows have “too many readings” and “too many workshops” in the developmental stage. To me that is pure nonsense. I have never done a reading where I didn’t gain some primary understanding about my show (even if that understanding was, “hey, this is crap…”). With that said, after several readings and the Festival, I’m delighted to actually have, for the first time, a proper rehearsal period to really further develop the work with cast, crew, designers and director.
What have you been working on since the Festival? 
Michael Berresse, the director of Analog and Vinyl, has wonderful dramaturgical skills. Since the Festival we have had several extensive note sessions and I have written two new drafts of the show and three new songs. We are still hard at work: tightening, refining, raising stakes and trying out some new ideas. The “essence” of the show remains unchanged, but improvements are on the way.
In the Festival, we mixed things up a bit and made “The Stranger” a woman (played by the wonderful Harriet Harris) when it had always been a man in previous readings.  Have you settled on a preference of genders for “The Stranger”? 
The idea of The Stranger being a woman was so well received at the Festival that we have decided that, at least for now, we’d like to continue with the character being female. It works either way, but there were some new discoveries we made when Harriet did the part that we’d like to keep intact in the script.
What are you hoping for next after Weston Playhouse?  
Ideally we’d like to take the show into New York. We feel the themes of Analog and Vinyl are universal and contemporary. We hope the show’s esoteric humor and its indie rock score will appeal to a wide range of theater-goers. And we hope to offend EVERYONE with our irreverent take on spiritual themes often unexplored in rock musicals.
Why should people head up to beautiful scenic Vermont this June and July to see Analog and Vinyl?
Because this show, above all else, is FUN. If you learn anything from this show or if the show gives you insight or deeper understanding about how the universe works— that is purely accidental. We simply want you to see this show because we think you will have an amazingly good time. And you will laugh. And you might come home with a song or two stuck in your head and then illegally download songs from my website. And that would be fine.
For more information about Analog and Vinyl, please visit www.westonplayhouse.org

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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):

MAY

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

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

JULY
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

AUGUST

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)

SEPTEMBER

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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Festival Show Update: PREGNANCY PACT

An interview with Gordon Leary and Julia Meinwald, the writers of Festival 2011 show Pregnancy Pact, as they prepare for the show’s world premiere this August at the Weston Playhouse Theatre Co. in Weston, VT.
Pregnancy Pact is a pop-rock musical about a group of teens who make a pact to become single mothers together. 15-year-old Maddie is devoted to her three best friends and they are to her. So when Brynn gets pregnant, the friends all plan to have children, raising them together in a dream of a perfect life. Their pact grows as other girls find out and want in. The bubble finally bursts when their secret is revealed, leaving each of the girls to face the hard realities of love, responsibility and growing up


The show was fairly young when it came to the Festival. What was it like to put it up in front of the membership and industry at such an early stage?
Having only had one staged reading of the show before the Festival, it was thrilling to be able to share our work with such a large and enthusiastic audience. Beyond the thrill, the process of preparing for the Festival was immensely helpful. Since we chose to present an abridged version of the full piece, we were tasked with condensing the show down to its most important elements. It gave us a very clear idea of what story we are telling, which has helped us greatly as we continue to refine and reshape the piece.
What was the response to the show like after the Festival?
We got a full spectrum of responses. Even though some NAMT members doubted that their audience would want to see a show with language like ours dealing with issues of teenage sexuality and pregnancy, everyone we talked to was excited by the show’s energy.
What has it been like leaving the Festival knowing that in less than a year you would have a world premiere?
We feel very lucky to get to continue working with Weston Playhouse [after previously winning the Weston’s New Musical Theatre Award]. Their phenomenally supportive community has embraced the Playhouse’s interest in new work, giving us the opportunity to jump right in to seeing the show come to life fully. Given the challenging subject matter of Pregnancy Pact, we are happy to have a production in place to show the rest of the NAMT membership that it can be done!
What has changed to the show since the Festival?
We were lucky enough to participate in CAP21’s Writers Co-Op in January. Over those two weeks we were able to tackle a number of rewrites, including a number of streamlined scenes, a few new bridges for existing songs and an altogether new song to replace an existing one towards the end of the first act. We’ve also decided to have one actor play all of the male roles, so now we’ll only be working with seven actors.
What excites you about going up to VT this summer?
Since the show is still relatively young, we have yet to see it on its feet. We can’t wait to work with our production team to see the visual world of the show. The way the characters interact with technology and the way movement might be involved in the songs are especially exciting for us, as these are things we’ve largely had to imagine in readings.
How much do you expect the show to change between now and opening night?
We expect to do a fair amount of rewriting as the show gets staged. We feel that the structure of the piece is sound but look forward to working within that structure to realize a full production.
Why would YOU want to go see the show up at Weston this summer (if you hadn’t written it)?
The show tells a story we haven’t seen before about what it’s like to be a teenage girl in America today. Plus, we would travel any distance to hear these truly fierce beltresses on some new pop-rock musical theatre tunes!

For more information on Pregnancy Pact, head to www.westonplayhouse.org. 

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Like the postman, I will brave all weather for the sake of musical theatre and NAMT, but thankfully Irene held off long enough so I could swing by the Weston Playhouse Theatre Co., in Weston, VT and see the opening night of the world premiere of Saint Ex, by Sean Barry and Jenny Giering (Festival Alumna from Princess Caraboo). The Weston Playhouse received a $15,000 grant from our National Fund for New Musicals for this production, so I was honored to represent NAMT on opening night. It was a beautiful production of a sweeping and touching musical about the life of the man who wrote The Little Prince, directed by Kent Nicholson. Resident Producing Director Steve Stettler and his team did a wonderful job of nurturing this show and bringing it to life. The night was capped off with the late-night cabaret performance downstairs from some of the cast and staff entertaining the elated crowd.

After a quick stop by the Vermont Country Store for cheese and maple syrup, it was off to see the matinee of The Unauthorized Autobiography of Samantha Brown at Goodspeed Musicals. I was
supposed to see the evening performance but with Irene in Virginia, I thought it would be best to catch an earlier show so I could get home and avoid the hurricane. Sam Brown is by Brian Lowdermilk and Kait Kerrigan and is about a young woman on the morning of her first day of college who can’t decide between school and finally doing what she wants. It was a great production and the small audience, of those willing to brave a storm for art, loved it!

Sadly, the actualities of the storm started to set in after that show. It was supposed to be Sam Brown’s third-to-last show, but because of Irene…it became their last show during the performance. They had a great run but it was sad to hear that they and the audience would be deprived of the final two performances.

After Irene passed, the effects of the storm really hit home when I heard that the Weston was flooded, halting their production of Saint-Ex until the theatre was cleaned up and what was able to be saved was salvaged. As the photos on their Facebook page started to come in, it became clear that while flood was horrible, the Weston staff, volunteers and actors were resilient and wouldn’t let a little water and mud get in their way. By the end of the week, the show was back up (modified to embrace some necessary changes); an amazing feat! And I know that, storm or not, Saint Ex will fly again at many theatres around the country!

Branden Huldeen
New Works Director

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Weston Playhouse gets $60,000 for world-premiere musical

By Andrew Gans, VermontBiz.com

The Weston Playhouse Theatre Company has received a $45,000 grant from the National Endowment for the Arts and a $15,000 grant from the National Alliance for Musical Theatre in support of its 2011 world-premiere musical production of Saint-Ex.  These grants are the latest show of support for Weston’s New Works program which began in 2007.
“We are pleased and honored to receive these latest grants, particularly in a 75th anniversary year,” commented WPTC Producing Director Steve Stettler.  “This is the first grant that we have received from NAMT and while we have received NEA funding every year since 2001, this is the largest grant in that ten year history.  It is a real testament to the part that Weston is playing in the development of new work.”

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