How does a show get to Broadway?

[BroadwayBound10]

Posted: 10/22/17 at 10:51pm

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

[ggersten]

Posted: 10/22/17 at 10:58pm

Of course, there's a chance. The authors of Something Rotten were newbies (even if not in their 20s).  

[BrodyFosse123]

Posted: 10/22/17 at 10:59pm

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.  

[BroadwayConcierge]

Posted: 10/22/17 at 11:02pm

Take classes at the Commercial Theatre Institute. I don't want to sound discouraging, but as Brody wrote, if you are asking this question on a message board, you have a lot of learning to do.

[HogansHero]

Posted: 10/22/17 at 11:13pm

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.

[Just_John]

Posted: 10/22/17 at 11:14pm

Definitely agree that asking this question here means you probably have a long way to go before getting a show to Broadway.  But in case you are the next Lin Manuel Miranda and have a show ready to go, Kevin McCollum is a big deal producer who takes blind submissions, which is how Something Rotten opened right on Broadway.  Before In the Heights was on Broadway, Lin and everyone involved with the show hustled a lot to invite producers to multiple readings and workshops.  You can also send to regional theatres that are known for doing premieres of new works such as the Signature in Virginia or Papermill in Jersey.  

Updated On: 10/22/17 at 11:14 PM

[CapnHook]

Posted: 10/22/17 at 11:14pm

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.

[BroadwayBound10]

Posted: 10/22/17 at 11:30pm

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?

[curtain_call2]

Posted: 10/22/17 at 11:44pm

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. 

[Itonlytakesajourney]

Posted: 10/22/17 at 11:45pm

When you are presenting your completed work to a producer or two, you need to make sure that it's pretty close to perfect. It needs to be the best version it can be at the time, with small room for improvement as your show gradually moves up the latter. After that is going to industry events, networking opportunities, anything you find. Invite producers, family, friends. Make a list of Broadway producers. Inexperienced? There's examples of shows that have newcomer writers. A newest example is Bandstand. This one had two pretty new writers and found itself a Papermill premiere AND a Broadway run. 

[HogansHero]

Posted: 10/22/17 at 11:49pm

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.)

 

[SomethingPeculiar]

Posted: 10/23/17 at 11:59am

Focus on non-profit theatres around the country that develop new work or have programs/festivals/grants for emerging writers.

Every Tony-nominated new musical last year started at a non-profit, and every Tony-nominated new play in the past 3 years started at or was produced by a US or U.K. non-profit Theatre.

[denali.fire]

Posted: 10/23/17 at 12:09pm

Practice.  Practice.  Practice. 

[raddersons]

Posted: 10/23/17 at 12:16pm

It is almost always about visibility and who you know. Obviously, great word of mouth from good work makes you more visible, but it's not all about that. You can be doing great work in a downtown theater for years, but if it's an unknown theater that no one goes to, then how can you expect anyone to produce your work?

[Ado Annie D'Ysquith]

Posted: 10/23/17 at 3:48pm

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

*gets the hook*

[I'm In Tech!]

Posted: 10/23/17 at 3:51pm

Money.