I have over 45 years of experience in all aspects of live theatre including stage management, production and design for costumes, scenery and lighting. At age 78 I'm limiting myself to the activities listed in the headline. In particular, I'm currently seeking experienced theatrical producers for two musicals for which I wrote libretti (books and lyrics) THAT JONES BOY! OR, THE ADVENTURES OF A BASTARD, a Musical Comedy of Manners adapted from Henry Fielding's classic novel, TOM JONES and for EKATERINA, a musical based on the secret diaries of Catherine the Great.
FOR DETAILS INCLUDING SCRIPTS AND MUSIC SAMPLES: carver.robertd@gmail.com
Hi, Robert D. Carver. Hope you're doing great! What's THAT JONES BOY! OR, THE ADVENTURES OF A BASTARD about?
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Hi Maurice. Thanks for the good wishes, and the same to you. Based on the mid-18th century novel by Henry Fielding (also a playwright-lyricist and criminal court judge) it tells the tale of a young man, seeking his place in society.
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There are all kinds of complications, romantic and otherwise, as our hero journeys comparative innocence through to sophisticated adulthood, with various romantic entanglements along the way. Inspired by Fielding's plays, I've re-set the story as a theatrical performance in the late 18th century..
You're welcome, Robert D. Carver. THAT JONES BOY! OR, THE ADVENTURES OF A BASTARD sounds interesting. I haven't read the novel. I added it to my read list. I've never written and pitched a musical. What does a writer need to pitch one?
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Firstly, one needs to be patient and prepared to roll with the punches--just like screenwriting--a completed libretto (script) including all the lyrics and some indication of stage business, properly formatted for live theatrical production. Act and scene breaks should be clearly indicated at the top of the pages, with brief descriptions of each locale.
A brief logline or synopsis follows the title page then a list of characters in order of appearance comes next and then a musical synopsis of scenes which lists the songs and the characters who perform them. After this there is a cast breakdown with brief descriptions of each character including age, physical type and vocal range, and whether or not they should dance or move well.
In addition, six to eight songs minimum must be recorded with live singers--not MIDI--sent along with the script, either on CD or as mp3 attachments if you're submitting electronically. Also, the entire musical (for piano) score needs to be available in fair copies and bound together. Copyright all this material before submitting it to any producer or agent. If you're a member of the Dramatists' Guild, they should receive a copy.
Be prepared to do massive rewrites during rehearsals and even after opening, whether out of town or in previews. Everyone from the director and choreographer will put in their two cents worth. Even the designers will sometimes inspire new songs, as was the case with the famous "I Love Paris" from the musical "Can-Can" in the early 1950s.
If you have any questions: carver.robertd@gmail.com
I bookmarked your post, Robert D. Carver. Thanks for the answer! It'll come in handy if I write a musical, and it might help other members.
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I worked seven years at the Rodgers & Hammerstein library, managed the rehearsal material for the musical play OKLAHOMA! and read every script that Oscar ever wrote plus the other librettists/composers the organization licensed.
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Congrats Robert.
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Thanks, Brenda.