You know how you sometimes have this dream - it could be a nighttime thing, or a daydream, or some lofty ethereal goal - but it’s something you just can’t quite imagine. It’s there and you can almost picture it, but only ever just almost.
I’ve had so many of these dreams that I lost count long ago. But I think it’s something that’s just in the DNA of artists and creative types.
Well, beginning sometime around the fall of 2016 I had this dream (the goal kind) of what it would be like, feel like, look like, sound like, etc to see The King’s Legacy - which had finally found the correct structure - come to life in a full production.
It simultaneously felt easily attainable and yet a thousand years off. I truly could almost see it happening. But it wasn’t happening - not yet anyway. So all I could do was just keep imagining and letting various scenarios pass through my head.
But I will tell you that, when it came down to the reality, it was nothing like I had imagined.
It was so much better. Read More
December 6th, 2012 - There existed a first draft of a script, including a large portion of lyrics.
March 14th, 2013 - I had a fully realized first draft with all scenes, music, and lyrics completed.
And so it all began.
It’s been a long long road to the first ever full production of The King’s Legacy, and what a strange, magical, frustrating, and fantastical journey it has been. It’s had its peaks and valleys, but it has brought us to where we are now: Less than one day away from the first rehearsal for the premiere production. (!!!)
So how did it all start? Where did the show come from? And how did it get to where it is today?
As per usual, I’m thrilled you asked! Read More
All professions are riddled with systemic flaws that everyone knows about, and yet very little is done to fix them. For playwrights and musical theatre writers the systemic flaw that I hear complained about the most is the submissions process.
Now, these complaints are completely justified. The problem with the system is…well, there isn’t one.
In the professional theatre world - at least where play and musical submissions are concerned - it’s a total free-for-all. (and not the enjoyable kind, like a lovely game of Super Smash Bros. on the good ole Nintendo 64! …no? just me being a video game dinosaur? oh coo, cool…)
And like most problems, this one gets completely ignored and nothing is really done to change it. Well, I won’t say completely ignored. Writers talk about this all the time - how messy, inconsistent, biased, and often expensive the submission process can be (yes, many come with attached fees). But the people who have the power to do something about it (aka the Theaters and the theatrical community members who receive submissions) either don’t want to change the way they do things, don’t want to engage in the discussion, don’t have the time, or aren’t aware that there is a better way to go about all of this.
And there is a better way, isn’t there? Read More
What is a theatre writer’s best friend and worst enemy?
You might think: Writer’s block? The blank page? Technology? Caffeine? Sleep? Outlines? All good possible answers, but…nope. What applies only to theatre writers and to no other form of writing?
DUN DUN DUN! *Insert dramatic zoom here*
But why, Michael? Why are readings both potentially wonderful and oh-so-evil at the same time?
An excellent question. Read More