Expert: Phil Nemy - 11/6/2009

Question
QUESTION: Hi Phil,

I entered the incorrect email in my previous question so please forgive this duplicate question.  This one now contains the correct email address.

Thanks.
Hi Phil,
For the past 5 years we have been developing a new musical for its road to Broadway.  It has been tested in many forms and re-written, re-written and re-written again.  Readings, performances, concerts of songs, all have been performed live to much praise.   A NY theatre company even recommended going to Disney Theatricals with the show- which is why I am asking if you might be able to help.  It is a very Disney-esque style show set in a fantasy world.  We have been told our musical will be able to compete even with Wicked!  We are looking for representation and recommendations to producer(s) to stage a production of Spellbound the Musical.  If you can help in any way, I would be eternally grateful, even if you are able to give me the name of the person to contact.  Here is our website: www.spellboundthemusical.com.

Many thanks in advance for your time.

Paul

ANSWER: Paul,

Thanks for writing. I have a couple of thoughts about this. First, historically, Disney has produced stage musicals based on their successful animated films. They have attempted to develop a few projects NOT based on their animated films, but to date, those have not fared well and have either been shut down or abandon. Knowing this, it's doubtful that Disney Theatricals would take on a new project not associated with their animated films. Nevertheless, because the story has a "Hobbit"-esque feel to it, they may be interested as it may draw in that particular audience who responded so favorably to the Hobbit trilogy of films.

My second thought is this. The way potential broadway shows find their way to the NYC boards is by holding "backers auditions." To mount a show like yours, or at least what I've seen on your website, would easily require an investment of $4 to 6 million or more. That's a significant sum to raise and you'd probably have better luck doing a backers audition. However, you'll need to involve some top-flight Equity actors as well as a strong director with LORT regional theater and/or broadway experience as you backers are going to want to see broadway-quality performers and management. The best you can expect from such an audition is to raise all or the majority of your financing needed to produce the show in New York. The worst case is that no one is interested. Realistically, you'll probably get some interest who may be willing to invest in workshopping it for 6 weeks or so. That would mean that they feel it needs some changes whether it be book, lyrics, music, direction or a combination of some or all of these. A workshop can be produced for as little as $250,000 and as much as $750,000. That does not guarantee that it will move any further than that, but it may mean that the changes impress the investors enough to want to invest more to see the production go further. It is pretty standard for a show to be workshopped before ever having a chance at Broadway. Yes, you've had productions done, but I'm not certain of the level of execution, the level of talent, director, etc. My gut tells me that most serious investors would not accept your past productions as enough proof that the show is ready without it going into a workshop with broadway-caliber talent.

Another way to make your dream happen is to offer it to an existing LORT Regional Theater who can finance a production. Provided that the production goes well, they may be able to use one of the performances as a kind of audition, inviting investors and B'way producers to see the show. If there is enough interest, it may be able to move from there. Companies like the La Jolla Playhouse, Goodspeed Opera House, Mark Taper Forum, and Guthrie Theatre are LORT houses that have a reputation for developing musicals that have moved onto Broadway.

I am involved as a director with a new musical about the life of Walt Disney and we recently held backers auditions in Santa Barbara and Los Angeles. The response was very positive, there are a number of investors interested in the project, and most have agreed that the show needs to be workshopped for about 6 weeks. Our producer is the producer of the Tony-winning SPRING AWAKENING. So, if you're seriously interested in moving into a workshop, and you have potential investors who can spend a minimum of $250,000, let me know. I'd be happy to assist.

Phil

---------- FOLLOW-UP ----------

QUESTION: Dear Phil,

First of all thank you for taking the time to answer my question.  I certainly appreciate the wealth of information and your suggestions.

I wanted to bring you up-to-date with where we are with Spellbound.  We have work-shopped the show in NYC, on a small budget, have had 3 current and past Broadway actors be part of the process (Kevin Massey, Tarzan; Tony Chiroldes, In The Heights and Daniel Rockett, Jesus Christ Superstar/Rent).  We have attended the Disney/Ascap workshops with Stephen Schwartz (and even spoke to him briefly about the next step).  The productions, although probably don't count for anything much, were very good to help us test out audiences and their reactions to songs, story and characters.

As of now, we have 2 regional equity theatres showing interest.  Both are in Florida and one is particularly interested in mounting it as the world premiere and of course, first regional production.  This is a very exciting time for us after 5 years of workshops and readings, re-writes... and re-writes!

So, now that we are at this point, where we are hoping one of the regional theatres will green light the production, I wanted to ask for your invaluable input and assistance please.  And if I can also mention you to this theatre, to let them know you are able to help with a contacts for a backers performance, it will most certainly help with their decision to mount the show (which is large scale (minimum 14 actors, 15 piece orchestra) and certainly requires a good budget).

I was interested to read your comments on Disney Theatricals - about the animated movies becoming musicals.  Many people who have read our script or seen the show have said it would be very successful as a 3D animated musical.  With that said, I still would be interested in pitching to Disney at some point (and John Clinton-Eisner at Lark Theatre, NY also suggested this since he knows the head of Disney Theatricals).

I feel like we need a 'leg-up' over this next hurdle, and a lot of that is having the right contacts and being able to refer to recommendations from industry professionals - that way, we can expect prospective producers to attend the backers auditions and hopefully generate enough interest for, at least joint investment for a bigger show.

I would very much appreciate your input at this stage.  Maybe even your producer could offer advice or might like to see our show :)

Thanks so much in advance.  Looking forward to chatting with you.
Please email me if you can at

Thank you.

Best wishes,
Paul

Answer
Paul,

Thanks for the information. Based on what you've shared, since you've had Tony and Daniel involved, you ought to have them introduce you to Kevin McCollum, the broadway producer of IN THE HEIGHTS and RENT in which they have performed. Although I don't think it's Kevin's kind of show, it can't hurt to approach him. If he likes the idea, he may be able to make a deal with one of the two houses in Florida who are interested in mounting it there. He can co-finance and move the production to NYC after "trying it out" in Florida.

I've worked on Broadway and regional theater, and I know Kevin McCollum and Tom Shumacher at Disney Theatricals (I was a film exec at Disney and actually hired Kevin to work for me years ago. I knew Tom when he was second in command under Peter Schneider who is now directing theater himself), but I am more a theater director than producer. I have spent the last 20 years away from theater working in film and TV, but am slowly working my way back into the medium I love most - theater.

Based on what you've shared, I don't think there is more I can offer you as I am really a director not a producer, and I believe you've already got your director. You can contact me with further questions at p n a t p @ s b c g l o b a l . n e t . I hope that reads as your email address did not come through. Good luck with your journey!

Best,

Phil