Bite-Sized Broadway Announces Open Submissions FOR New Mini-Musical Works
After a celebrated first season, IndieWorks Theatre Company (Christopher Michaels, Producing Artistic Director) has announced that 12-time award-winning mini-musical radio play series Bite-Sized Broadway is accepting second season submissions of new mini-musical works for four weeks beginning Monday, February 6 through Sunday, March 5, 2023.
Bite-Sized Broadway presents 10 to 25-minute mini-musicals as fully-produced radio plays complete with lush orchestrations, captivating sound design, and the voices of industry giants from Broadway, The West End, Hollywood and even YouTube. Each mini-musical production is followed by a talkback with its creators, giving them voices beyond the theater walls and giving our global audience a “bite-sized” taste of the future of musical theatre.
Nine new works will be selected and fully produced by IndieWorks Theatre Company as radio plays broadcast worldwide on all major streaming platforms. Selected works will receive dramaturgical support; full radio play production including casting, rehearsal, orchestration, direction, music direction, recording engineering, mixing/mastering, publishing, press, and advertising; a growing global audience of over ten thousand; a high-quality recording to share with fans, potential producers and marketing; an opportunity to be part of a multi-award-winning program; and much more.
Writers selected to be a part of season two will be notified by Monday, April 7, 2023.
For complete submission information, including guidelines, tips and best practices, submission formats, selection process, and the application, please visit www.indieworkstheatre.com/bitesizedbroadway.
“Literature has both novels and short stories. Cuisine has both multi-course meals and snacks. Musical theatre should have both long and short formats that are of equal artistic merit. And expanding the scope of what a musical can be also expands who is creating and enjoying musical theatre,” said Jonathon Lynch, creator and host of the series. “In our first season alone, Bite-Sized Broadway won a dozen awards and was in the top 1% of all downloaded audio dramas right out of the gate. But numbers aside, we produced new musical theatre that we could be proud of, showcasing writers from around the world with some of the most talented performers out there, all during the worst of a global pandemic.”
Season one featured nine mini-musical episodes by 18 writers from six different countries around the world. Recorded entirely remote by a cast of 40, 13 musicians, a small production team of six, Bite-Sized Broadway won 12 awards including the Davey Award for “Best Use of Music,” A Vega Award for “Best Score & Sound Design,” A Communicator Award for “Outstanding Achievement in Remote Production,” and multiple “Best Entertainment Series,” “Best Script Fiction Series,” and “Best Arts & Culture Podcast” awards.”
Lynch and Michaels, along with season one co-producer Andrew Fox (Starkid Productions), were each part of writing teams featured in the inaugural season, and were joined by writers from around the world including Timothy Huang (American Morning), Ed Levy (Picket Line), Neil Radisch (The Don Juan and the Non Don Juan), Jamil Ellis (Magical Negro Speaks), Eric Grunin (Our Woman, Frank Thompson), Gil Varod (Oedipus for Kids), Teresa Lotz (She Calls Me Firefly), Will Buck (Only Anne), Aaron Jensen (Schitt’s Creek), Jared Corak (The Pout-Pout Fish), Joshua Cerdenia (The BMI Musical Theatre Workshop), , Caitlyn Burt (Performing Miracles), Amir Shoenfeld (Winner of the 2020 Stiles & Drewe Best New Song Award), and Peter Saxe (Winner of the 2016 MAC/Burman Award).
Honoring their commitment to diversity, equity, and inclusion, Bite-Sized Broadway is seeking to lift up and offer production opportunities to Black, Latine, Indigenous/First Nations, API, SWANA folks, those who identify as transgender, non-binary, gender fluid, and gender nonconforming, people with disabilities, and intersectional musical theatre writers. Writers from these and any other historically marginalized or underrepresented groups are strongly encouraged to submit.
To follow through on that commitment, this season, Bite-Sized Broadway is enlisting the help of a group of trusted, paid readers, made up of different ages, ethnicities, gender identities and expressions, cultural backgrounds, and abilities, to read and evaluate all submissions before passing along their recommendations to producers.
“By targeting our outreach to theatre makers from these underrepresented communities, we hope to expand our network, open doors, and spread resources to groups that are rarely served by the usual theatre producing bodies. And it’s not just at the writing level. We’re looking for producers, directors, orchestrators, and sound designers as well; people who are the most qualified to tell the stories of, what we hope will be, an incredibly diverse season,” said executive producer and creative director, Christopher Michaels.
Season one of Bite-Sized Broadway included multiple Broadway performers, including Alan H Green, Ann Harada, Linedy Genao, AJ Holmes, Kennedy Kanagawa, Telly Leung, Constantine Maroulis, Karen Mason, Gabrielle Ruiz, Thom Sesma, and many more. Click here for a complete list of season one participants.
“Our program shines the spotlight on writers and their work giving them an opportunity to speak about their process, careers, and upcoming projects,” said Michaels. “And by casting well-known theatre and voiceover artists, we hope to shine that light a little brighter, helping some writers launch, and others maintain, a fruitful career in the theatre.”
Season Two of Bite-Sized Broadway will premiere this fall, with new episodes on the first and third Monday of each month released on Apple Podcasts, Stitcher, Spotify, Google Play and other favorite platforms. The award-winning first season is streaming now. Visit bitesizedbroadway.indieworkstheatre.com or search for Bite-Sized Broadway on your favorite streaming platform.
Bite-Sized Broadway’s mission is to uplift musical theatre creators of all identities, expressions, and backgrounds by presenting their works through short form radio plays crafted at the highest level of production and broadcast for presentation to a global audience.
For more information, visit www.indieworkstheatre.com/bitesizedbroadway.
IndieWorks Theatre Company is committed to providing New York City’s diverse population with high-quality, daring, contemporary and intelligent, new and “rediscovered” works of musical theatre while remaining accessible to our artists and audiences alike.
For more information on Bite-Sized Broadway or IndieWorks Theatre Company, visit www.indieworkstheatre.com
The Glorious Corner
SLY REVIVED — (via Rolling Stone) Sly Stone, the enigmatic R&B/funk icon, will share his story in a new memoir, Thank You (Falettinme Be Mice Elf Agin), arriving Oct. 17 via Questlove’s new publishing imprint, AUWA Books.
Stone co-wrote the new book with Ben Greeman, who’s written memoirs with George Clinton, Brian Wilson, and Questlove (he helped the Roots drummer with his three other books, too). Questlove — who’s directing a documentary about Stone — will also pen a foreword for Thank You (Falettinme Be Mice Elf Agin).
In a statement, Stone said, “For as long as I can remember folks have been asking me to tell my story. I wasn’t ready. I had to be in a new frame of mind to become Sylvester Stewart again to tell the true story of Sly Stone. It’s been a wild ride and hopefully my fans enjoy it too.”
Born Sylvester Stewart, Stone’s music career began when he was a child, singing in a gospel quartet with his siblings. In the Sixties, he worked as a radio DJ in the Bay Area, forming various soul groups, including the extremely successful Sly and the Family Stone. The group’s debut,A Whole new Thing, arrived in 1967, and that same year they released their first major hit, “Dance to the Music,” which anchored the band’s second album. Between 1967 and and 1982, Sly and the Family Stone released 10 albums, including classics like Stand! and There’s a Riot Goin; On.
But after the dissolution of the Family Stone, Stone struggled to find success as a solo artist while simultaneously battling drug addiction. Though he got sober, he receded from public life, making only sporadic appearances, like the band’s induction into the Rock and Roll Hall of Fame and a performance at the 2006 Grammys. In 2011, Stone released a new solo album, I’m Back! Family and Friends; in 2016, he received a Lifetime Achievement Award from the Grammys.
Thank You (Falettinme Be Mice Elf Agin) is one of several books on the initial slate for Questlove’s new AUWA Books venture. (The Farrar, Straus and Giroux imprint takes its name, by the way, from the bird-call noise Prince used on songs like “Baby I’m a Star” and “Eye No.”) Also on the docket: Questlove’s new book, Hip-Hop Is History, and a book from TikTok star Drew Afualo (both out in 2024).
This is major news for sure. If you’re of a certain age, Sly Stone’s music was the best. The true of story of what actually happened should be cataclysmic. The stories I’ve heard over the years encompass almost everything good and bad about the music industry. I hope the curtain is finally pulled back in this instance.
TICKET TO YOUNG — (Via Ultimate Classic Rock) Count Neil Young among those musicians who blame escalating ticket prices for ruining the concert industry. “It’s over. The old days are gone,” Young declared in a message posted to his Neil Young Archives website. “I get letters blaming me for $3,000.00 tickets for a benefit I am doing. That money does not go to me or the benefit. Artists have to worry about ripped off fans blaming them for Ticketmaster add-ons and scalpers.”
The acclaimed rocker’s message was accompanied by a story about the Cure and their recent battle with Ticketmaster. The ticketing giant earned the scorn of the goth rock band and their fans by adding several fees to ticket prices for the Cure’s upcoming North American tour. In some cases, these “unduly high” fees, as Robert Smith called them, resulted in the actual price of tickets nearly doubling from their face value. Ticketmaster eventually agreed to refund some of the cost.
“Concert tours are no longer fun,” Young opined, pointing to ticket fees and scalpers as the culprit. “Concert tours not what they were.”
Young’s thoughts about ticket prices are the latest in his ongoing list of gripes regarding modern touring. In December, the rocker reiterated his refusal to play at concert venues that use factory farms.
SHORT TAKES — Could Big Blue be coming back? Blockbuster for decades was the go-to spot for DVDs and video-tapes. Stay tuned …I love Keanu Reeves, but I must admit I’ve not seen any of the John Wick movies. Chapter 4 opened this past weekend with a $74 million+ score. Rather amazing in this post-covid period.
I pulled up the trailer and was terrifically impressed by the lush visuals; beautiful music and Reeves and Lance Reddick just sensational. I am thinking of a John Wick-weekend where I’ll watch all 4 … Writer/producer Terry Jastrow arrives in NY this week with his wife actress Anne Archer … Whatever happened to the Madonna biopic? You ask three different people and you get three different answers,. Check this one out from IndieWire: https://www.indiewire.com/2023/03/julia-garner-madonna-biopic-fingers-crossed-1234819696/ …
Personally, I don’t think Garner should do it. Mired in controversy already, could it really be any good? … GUESS WHO DON”T SUE: What up-and-coming metal band is using the name of a high-profile manager to score some Manhattan-gigs? They were going to work with the manager until it blew up. Simply shady if you ask me … btw: whatever happened to Wendy Stuart Kaplan? …
Friday was the last episode (for their inaugural season) of Apple TV+’s Shrinking which has just been so excellent in this its debut season. Jason Segal and Brett Goldstein have come up with the best show on streaming yet. Infectiously good and the acting turns from Segal and Harrison Ford are off the charts. The show culminated in a wedding for best-friend Brian (Michael Urie) and ended with a call-back to the show’s very first scene. Remember it? Truly a one-of-a-kind show. We loved it … I’ve heard at least 4 stories on the news this weekend about composting. Is this a hot topic now? Trending is it? … RIP Nicholas Lloyd Webber
NAMES IN THE NEWS –— Alex Salzman; Rob Petrie; Anthony Pomes; Terry Jastrow; Tyrone Biljan; Jacqueline Boyd; Bill McCuddy; Brad LeBeau; Nile Rodgers; Nancy Hunt; Steve Leeds; Terri Epstein; Brenda K. Starr; Tom & Lisa Cuddy; William Schill; Robert Funaro; Vinny Pastore; Maureen Van Zandt; Tricia Daniels; and ZIGGY!
The Marvelous Marilyn Maye Received Twelve Standing Ovations At The New York Pops
Karen Akers, Jim Caruso, Tony Danza, Jamie deRoy, Max von Essen, Melissa Errico, Bob Mackie, Susie Mosher, Sidney Myer, Josh Prince, Lee Roy Reams, Rex Reed, Randy Roberts, Mo Rocca , Mark Sendroff, Lee Roy Reams, Brenda Vaccaro and David Zippel were there to see and honor Cabaret legend and Grammy nominee Marilyn Maye. Maye who turns 95 April 10th, made her at Carnegie Hall solo debut last night with The New York Pops, led by Music Director and Conductor Steven Reineke.
Maye is a highly praised singer, actress, director, arranger, educator, Grammy nominated recording artist and a musical treasure. Her entire life has been committed to the art of song and performance and it showed with the 12 standing ovations she received.
Maye appeared 76 times on The Tonight Show Starring Johnny Carson, she was “discovered” by Steve Allen and had a RCA recording contract, seven albums and 34 singles.
The evening started out with the superlative New York Pops Overture of Mame, which Maye had played the title role.
Next a Cole Porter Medley with “Looking at You,” Concentrate On You,” “I Get A Kick Out Of You,” It’s Alright With Me,””Just One of Those Things,” “I’ve Got You Under My Skin,” and “All of You”. This was Marilyn’s second standing ovation. The first was when she stood on that stage for the first time and the audience was rapturous.
A terrific “It’s Today” from Mame with high flying kicks was the third ovation and wow can that woman kick.
A rainbow medley included “Look To The Rainbow” from Finnian’s Rainbow, the iconic “Somewhere Over The Rainbow,” the jazzy “Make Me Rainbows” and of course “The Rainbow Connection.” And with that another standing ovation.
“Put On A Happy Face” from Bye Bye Birdie.
Frank Loesser’s Joey, Joey, Joey brought on a fifth standing ovation. This song was a masterclass in acting and vocal nuance. For that matter every song that comes out of Ms. Maye’s mouth is perfection. Part of the brilliance of this night is her musical director, arranger, and pianist Ted Firth. That man is a genius.
Lerner and Loewe’s “On The Street Where You Live” from My Fair Lady ended the first act with a sixth standing ovation.
The overture from Hello Dolly! and then Cabaret shows Marilyn Maye also starred in opened the second act. The New York Pops sounded phenomenal as always.
“Your Gonna Hear From Me” from “Inside Daisy Clover was an appropriate starter for this next round as the audience got to its feet.
Maye’s most requested song “Guess Who I Saw Today” from New Faces of 1952 was followed by a show stopping “Fifty Percent” from Ballroom and of course another standing ovation.
Her next song was chosen by the Smithsonian Institute to be included in its permanent collection of recordings from the 20th century. Her recording of “Too Late Now” is considered by the Smithsonian to be one of the 110 Best American Compositions of the Twentieth Century and Ms. Maye showed us why and again another standing ovation.
A proclamation from The City of New York read by Steven Reineke to Marilyn Maye made this day Marilyn Maye Day. This treasure cried with joy as she sang Stephen Sondheim’s “I’m Still Here.” Though she forgot some of the lyric, Ms. Maye proved performing is all on the intent and connecting to the audience. Two more standing ovations were added here.
For encores, I was thrilled to hear James Taylor’s “Circle of Life” and “Here’s To Life,” which is my personal favorite, finally going back into “It’s Today” with those high kicks and a twelfth standing ovation. Bravo Ms. Maye!
If you are a singer and do not catch Ms. Maye live, you really do not care about your craft. Last night Ms. Maye made it clear why she’s been celebrated as one of America’s greatest jazz singers for more than 50 years and this was a night I will always remember. Thank-you New York Pops.
Don’t miss the Pop’s 40th Birthday Gala: This One’s For You: The Music Of Barry Manilow on Monday, May 1st. The gala will star Sean Bell, Erich Bergen, Betty Buckley, Charo, Deborah Cox, Danny Kornfeld, Norm Lewis, Melissa Manchester, Zal Owen, Eric Peters, Blake Roman, Billy Stritch, Steven Telsey, Max von Essen, Dionne Warwick, and more to be announced. This will be yet another New York Pop’s Night not to miss.
T2C Sends Our Prayers to Andrew Lloyd Webber and Lea Michele
Saturday, March 25, 2023
A Statement From Andrew Lloyd Webber
I am shattered to have to announce that my beloved elder son Nick died a few hours ago in Basingstoke Hospital. His whole family is gathered together and we are all totally bereft.
Thank you for all your thoughts during this difficult time.
The 75-year-old Oscar-winning composer son Nicholas followed in his father’s footsteps and was a successful composer in his own right, having written Fat Friends The Musical. He was married to musician Polly Wiltshire, who appeared on the soundtrack of his father’s 2019 movie Cats.
During his career, Nicholas also scored music for an adaption of The Little Prince as well as composing numerous TV and film scores, including for the BBC1 drama Loves, Lies, and Records.
Nicholas previously spoke about making his own way in the theatre world away from his famous family name in a 2011 unearthed interview.
He said he wanted to be ‘judged on his own merits’ so dropped his surname when working to see what the reaction would be.
Our hearts and prayers go out to his family.
Also on Saturday Lea Michele updated her fans on the status of her two-year-old’s health via her Instagram after he was hospitalized earlier this week. Her son Ever was in the hospital, but is now out due to a ‘scary health issue. She posted a picture backstage in her dressing room ahead of her Broadway performance in Funny Girl. Lea had been out to focus on her family.
“I just wanted to say thank you to everyone for just so much love and support this week. I really really appreciated it”.
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