( photo credit: Brian Greenberg )

(photo credit: Brian Greenberg)

Please RSVP to the Industry Reading of "The King's Legacy" at the link below!


To RSVP click here!


More About The Show:

The Reading:

Sunday, November 20th @ 6:00pm at Pearl Studios (500 8th Ave.) Rm 414

The Cast:

Patrick Mulryan, Samantha Bruce, Jon Reinhold, Jacque Carnahan, Clayton Brown, Michelle Geisler, Kenneth Quinney Francoeur, Libby Servais, Lizzy Becker

The Creative Team:

Benjamin Viertel (Director), Wendy Feaver (Pianist), Michael Radi (Composer/Lyricist/Librettist)

About The Writer:

My name is Michael Radi and I am the composer, lyricist, and librettist of the original musical "The King's Legacy."

In addition to writing musical theatre, I am also a performer, musical director, and vocal coach. Now in my sixth year, I teach voice and play for classes at a studio on Long Island, and I absolutely adore my students. I am thrilled to have one of my private voice students, Lizzie Becker, joining us in this reading as the Young Queen Elizabeth! I have seen first hand how powerful musical theatre can be in shaping the way young people see and interact with the world, and I want to be a part of that process in every way I can. Additionally, I am currently also collaborating on various other musical theatre projects.

Feel free to look around my website for more information!

The Musical:

"The King's Legacy" is the story of how King Henry VIII's obsession for a son tore his country apart, and how his daughter, Queen Elizabeth I, became their unexpected savior.

The musical takes place on the fortieth anniversary of Queen Elizabeth I’s reign (London, 1598) when a troupe of performers puts on a show to honor her rule. The musical spans thirty-three years between the two separate, but related, storylines. The main story is of Henry’s attempts to obtain a son. The other plotline deals with Elizabeth as she grows up, learning what it means to be a great monarch from Henry and his later wives.

The musical is performed with 8 adult actors and 1 child actor playing a total of 17 roles. The atmosphere of the presentation should be that of an Elizabethan performance, filled with both direct narration and great whimsy.

I began working on the musical in the fall of 2012, having always been fascinated by the history of Henry VIII and Anne Boleyn. One man's self-prescribed need to obtain a son and one woman's desire to marry the king changed the world, and yet we can only fill in the rest of the story with guesses and imagination. The story appealed to me, not only because of the grand scale of the world stage these people lived on, but because of the incredible intimacy of these dramatic personal relationships. The story sang to me, and I realized I had to put the notes on paper!

On May 19th, 2013 (the 477th anniversary of Anne Boleyn's death, coincidentally) I gathered a group of my friends together at my apartment to read through the show for the first time, which went quite well for a barely finished musical. Then, that July, the Random Access Theater produced a staged reading in mid-town of the edited first draft, from which I learned a great deal. My fascination at Anne Boleyn's role in the story was perhaps too apparent, for many people were unsure exactly whose story I was telling.

After many major revisions, in March of 2014 the musical was performed as part of the Emerging Artists Theatre Festival. At this point it was clear that the story was definitely Henry's, but the structure of the show still wasn't quite right. I immediately threw out mostly everything and started from, essentially, scratch, keeping only 8 songs from the previous versions of the show and none of the dialogue.

After many more continued revisions, this past April I gathered a group of friends to my apartment once again to do a reading of the new material and, *finally*, the show had found its home! Not only was it crystal clear that the story was Henry's and that the structure of the musical perfectly fit the story I was trying to tell, but I had also found the correct sound for the score. Energetic and fresh with nods to both classical musical theatre and the Elizabethan era, the score was unique and captivating. The musical was ready to continue its life and journey in the professional theatrical world, leading us to the upcoming reading!