Probable Cast
Before selecting a show, get a clear sense of the talent you have on hand. You
must have the right people to play your leads and, if possible, some back-up choices.
Go with your strengths. If you have no children in your talent pool, this is not
the year to do The King and I!
Example: Higgins High is coeducational,
with over 1000 students -- so
there is a wide talent pool on hand. Some of the school jocks will audition
when they realize there will be lots of girls in the cast, and the show
will be an excuse to work with them for several weeks.
Probable Audience
Give some serious thought to what your potential audience will want to see. Is
it just a closed group (students, co-workers) or will the general public be invited?
Be sure to consider if the theme of a show too adult or daring for your
organization.
Example: Our intrepid teachers do not want
their first show to set off any controversy. Moreover, a family friendly show will
have an easier time selling tickets. Mr. Pickering wants something with a good score,
and Ms. Doolittle is pushing for a show that will encourage interest in literature.
Budget
A little creativity can go a long way. You would be amazed how many lavish musicals
can benefit from simplified productions. However, keep
audience expectations in mind. A modern-dress Hamlet can win rave reviews, but
many ticket buyers will be disappointed if you try to stage Kismet with a
cast in sneakers and jeans.
Facilities/Equipment
Do you have the space and technical set-up required to do a particular show
justice? If the lighting and sound teams are inexperienced, don't pick
a tech-heavy show. You may be itching to stage My Fair Lady, but the
massive sets, elaborate period costumes, huge cast and complicated lighting cues
may leave your company drowning in details. A simple show that goes well is preferable
to a demanding show that makes your team look clumsy.
Knowledge & Talents
Don't pick a title out of thin air, or based on nothing more than someone else's
recommendation. If you are going to spend several months of your life working on a
musical, it may as well be a show you like. If you are not enthusiastic about a
project, your cast and crew will sense it.
Match the show to your talents. For example, if no
one on your production team has an affinity for dance, strike West Side Story
off your list - for now. Your group may soon develop the
kind of talents to tackle almost any show.
Example: We already know Mr. Pickering and
Ms. Doolittle have a limited budget, like almost everyone else on this planet.
They also have limited experience and little more than the most basic stage equipment.
So they are looking for a musical that involves a few simple sets, uncomplicated costumes,
and no major special effects.
Check the Neighbors
Find out what neighboring schools and theatre groups are planning.
It is alright if two organizations in the same region do the same
show. However, if a half dozen nearby groups have staged the same show within
the past year or so, forget about attracting an audience. A few diplomatic
phone calls can avoid this. While you are at it, try your best to avoid conflicting
with other community events. No one has to tell you not to rehearse on Thanksgiving
Day, but you will have to do your research to know when the "big game" is
set for, or what nights the big church bazaar will captivate your town.
A little conflict can be a good thing. I once worked with a high school
team that produced Anything Goes. Another high school in the same county
performed the same show two weeks before us! We made the best of it, and
encouraged our entire company to attend our
competitors' opening night to cheer them on – and (of course) check them
out. Our cast was a great audience, especially when they realized this other
production was not nearly in our league. (Whew!) Most of that other cast came to
our opening to cheer us on and (of course) check us out. And although they were
supportive, they concluded that our production was not in their league.
(Poor deluded fools!)
Example: Pickering has checked
with music teachers at the neighboring schools, and knows what is being
planned. The students have provided info on what the local community
groups are planning, so it will be easy to avoid conflicts.
Among other tidbits, it seems three local groups that did not bother
checking with each other are doing Les Miserables – so that
show will have to wait till another year. On the other hand, a
few of the probable cast members are involved in various
school sports teams. Pickering and Doolittle will try to keep them in the chorus,
and schedule "leads only" rehearsals on game nights. With luck, no
championship games will conflict with performance dates.
Academic Applications
It would be madness to overlook the academic possibilities when selecting a musical.
In a school, this can be a great way of involving additional faculty members
and students in your project. For community groups, its a way to get
educators on your team. And it never hurts to encourage your cast to do
some research. Almost any show can become an excuse
for curriculum-related activities. For example –
- Hello Dolly opens the way to anything from the history of
the 1890's to early attempts at urban social reform in New York
City.
- The King & I or a Gilbert & Sullivan operetta opens
a window on the Victorian era.
- Into the Woods can inspire examinations of fairy tales as
literature, the feudal system, and fantasy as social commentary.
- Les Miserables can inspire classroom discussions of Victor
Hugo, the revolution of 1848, and music of the mid-1800's.
You get the idea. Lobby displays can cover the academic connections for
your audience. Everyone will see how your musical builds a
sense of community – it makes sense to show them that your show also
serves a bona fide academic purpose.
Example: Pickering and Doolittle
attended a production of 42nd Street at a neighboring school last
year,
and were blown away by the lobby display on the culture and fashion of
the 1930's and the films of Busby Berkeley – essays, photos, drawings
and more. Our teachers also saw how impressed members of the local school board
were, and want their show selection to give them similar opportunities.
Review Materials
Do not make your final selection until the director has studied the full
script and the musical director has gone over the actual score. You can obtain
perusal copies free of charge from most major licensing
firms – each one has its own policy. Please be sure to return perusal
materials promptly.
Why is this direct review so important? Because you want to know that you
can handle all of the musical and dramatic content. You may have seen a particular
show years ago and loved it, or loved the film version -- but only by reading the
script will you realize what you are in for. A cast recording may be one of your
favorites – but your musical director must peruse the score to know if she
can get first-time singers to handle the harmonies.
Make the Decision
Giving all of the above points careful consideration, its time to pick a show.
When you know which musical you want, Musicals101's
Show List can tell you which licensing
company holds the rights for over 500 popular titles, with contact info for each.
If our short list of recommendations was not
enough to whet your appetite, a copy of Peter Filichia's Let's Put on a
Musical: How to Choose the Right Show For Your Theater (Backstage Books: NY,
1993) can be a major help. He categorizes shows by cast type, material, etc.,
creating a book that can give school and community theater producers all sorts
of fresh ideas.
Example: Our two teachers have decided to
stage Big River – the costumes are relatively simple, the sets consist
of scenic backdrops and a few furnishings, and the score has a country-western
flavor that the performers and potential audience will enjoy. The script is based
on Mark Twain's classic novel Huckleberry Finn, providing a great showcase for a
multi-racial cast with lots of good supporting roles. Finally, the performance
rights were available and fit the production budget.
Secure the Performance Rights
Before you make any announcements or set anything in motion, be sure that
you secure the rights. Most licensing companies limit the number
of productions they will allow of the same musical in a particular region
in any one year. If a Broadway revival or major tour is planned, amateur rights
may be frozen for a time. To avoid disappointment, secure rights at least
six to eight months before your planned production date.
When I was in college,
our director announced that we would stage West Side Story. For days, it
was all that anyone could talk about. Auditions were held, and they were about
to announce the cast – but it turned out a Broadway revival was
planned, and the rights were not available. We did another show,
but it took us weeks to shake off the disappointment. Once you get your
heart set on being a Jet, anything else can seem like a letdown.
Example: The folks at Higgins High have chosen
a show that is not over-produced. They contact the licensing company in May, a full
year before their projected show date – securing rights is a snap. The licensing
company loans them two full directors scripts, sides (mini-scripts that only give the
cues and lines for individual roles) for every character, vocal scores for the cast,
a full conductors score, full piano score, and parts for the orchestra. Pickering and
Doolittle keep their decision to themselves. They do not even tell their
relatives or the principal until the last possible moment. The students can guess
and gossip all they like – the excitement is building! No official statement is
made until auditions are announced, about three months before opening night.
On to Plan a Realistic Budget |