About Arlene Schulman Expertise As a professional stage director and dramaturg, I have worked extensively with playwrights, lyricists and composeres in new play development. My areas of expertise are in character development, relationships, plot structure and stageability. I`d be happy to answer any questions in these areas, as well as in the process of getting a play from the page to the stage - including the stages along the way, director/playwright collaboration, the playwright`s place in rehearsals and so on.
Experience I am a professional stage director and dramaturg who has worked extensively in collaboration with playwrights, lyricists and composers on new plays and musicals. I have worked closely with them in the developmental process, helping to shape and edit their work - particularly in the areas of character development, relationships, plot structure and stageability - and acted as dramaturg and sounding board. I have brough these new plays to the stage in staged readings, workshops, showcases and full productions.
Organizations Society of Stage Directors and Choreographers - associate member Literary Managers & Dramaturgs of America - associate member Shakespeare Association of America The Shakespeare Institute -MA Candidate, "Shakespeare & Theatre"
Question My friend and I have developed a musical play and improved it over six one
night performances in Las Vegas It has been sold out every time Turning
people away. We are at the stage where we would like financial and other
expertise to go for a lager venue and to roadshow the production to LA and SFR
Any suggestions We have not done this ever
Answer Hi Nigel,
Sounds like you've already had a great start. Congratulations!
As for where to go from here, you need to either get your show to a producer who handles tours (or at least roadshows) or you need to finance and produce it yourself. Neither is easy.
The easiest way to find a producer is to get it seen. So your best bet, especially with a show that was getting sold out performances, would have been to invite producers (and other theatre professionals such as critics, etc.) to your performances and let them see how good the show is. Or to hold a separate "backer's audition" or backer's showcase especially for producers (usually a shortened version with the highlights) and invite them to that. No guarantees that they will come, of course, if you invite them, but there is always the chance a few will show up. No guarantee they'll be interested if they do show up (different producers look for different things - a good show is not always a guarantee of finding a producer), but again, if they don't know it's there then nothing will happen.
If those are not a possibility, then you can submit the show - usually a sample 10 pages - more or less - plus a demo recording of the show music, but it depends on the producer or company. Some will not take unsolicited submissions at all. Others have strict guidelines about what to send. Others will take submissions of the full play. But in either case, for a musical, a demo recording is necessary.
I suggest, if you are looking to send out submissions to theatres in the areas you want it to be performed - or to producers in those areas - that you take a look at the Dramtists Sourcebook put out by the Dramatists Guild. It lists submission guidelines for companies, contests and more all over the country. And, if you are not a member already, you should consider membership in the Dramatists Guild of America (www.dramaguild.com). They are the union for playwrights, lyricists and composers and, even with an inexpensive associate membership, can give you excellent legal and financial advice, as well as point you in the right direction for how to move your show ahead.
I wish you all the best with your show. It sounds like it has wonderful potential. Maybe I'll get the chance to see it (or even direct it) when it comes to the East Coast!
