How does a show get to Broadway?

Does anyone have any stories about shows that got to Broadway through unconventional means? I'm an emerging composer with no connections and I'm trying to figure out how I can get my show in front of someone who can get it on a Broadway stage. I know this is like asking how do you get a basketball through a pinhole but humor me! What stories have you all heard or what suggestions do you have for me? (Even if its harsh/honest, that's okay. I can take it.) I'm more curious about the process for making this happen than anything. If you aren't already well known is there even a chance?

Updated On: 10/22/17 at 10:51 PM

If you’re asking this on a message board, you’re definitely not ready. Everyone’s journey is different so there’s really no formula. Connections only get you so far. The hustling has to be done by you.

Network. Go everywhere you can, make yourself known, don't be pushy, help anyone who asks, make people curious what you are up to. Study the trajectory of shows that made it: you'll see that none got there by getting "in front of someone who can get it on a Broadway stage." It doesn't work that way.

1) Get a reputable agent to put your work in front of producers and directors. How you get said agent, I have no idea.

2) Get your work seen by as many people as possible. Do 29-hour readings and workshops. Submit to festivals. Invite producers and directors and agents. Don't do this just once, do it over and over and over. Get your name and your work out there. Get it seen. It doesn't have to be finished or a full production. Just get people to see it, and if your work is a match, someone in that audience will one day call you.

There is a whole podcast called "broadway backstories" that's all about how new musicals get to broadway. If you're interested in hearing different avenues, you could listen to some of the episodes. Obviously some people are already well connected, but the episodes for In the Heights and Spelling Bee might be especially interesting to you.

BroadwayBound10 said: "Thanks so much for the replies! I know I am very green right now but I'm willing to put in the work to make this happen. I just need to know what work I should be putting in. After all, I'm a writer and a creative and not vey business minded. But I'm willing to learn, no matter how long it takes.

So, how do you find producers to invite to readings? Why would they come to a nobody's reading/workshop? I understand these are "dumb questions" but the only place to start is at the beginning right?"

You don't. As I said, you network, you start associating with theatres that may get some producers or agents, you do it in New York, you do it out of town, but you are not going to get a meaningful agent at this point, and the likelihood of getting a producer off a blind submission is so remote that you might as well try selling ice cubes to eskimos. (and that's not the narrative for Something Rotten, btw, so don't believe everything you read here.) And no, you don't have any interest in CTI, because you are not trying to become a producer. Be a nice person, get to know people and you'll end up in the right place at the right time. But lower your sights and forge ahead. You are years away from Broadway, under the best of circumstances. Oh, and best of luck to you. You have no chance without it, no matter how fantastic your work. And seriously, as I said, study the arc others have followed. (and accurately, not based on some nonsense you read here.)

Practice. Practice. Practice.

You won't succeed on Broadway if you don't have any Jews.

*gets the hook*