Catherine Kinsman: June 4, 2024

For theatre lovers, there’s nothing quite like the splendor of a fully produced musical production, but long before a theatre’s cast, crew and directors can bring a fully produced musical to the stage for us, there had to be a script and score, first conceived of in the mind of a writer. The job of a writing team is to grow that seed idea from infancy onward, through many development phases, until one day a polished script and score is ready to be produced and performed as the musical that we see on opening night and beyond. So, let’s pull back the curtain on what happens in the development phase of a new musical.

It is said that “a musical is not written – it is rewritten.” So true!

The process typically takes many years. With the story, characters, plot, themes, music, lyrics, dialogue, stage directions and more, the composer, lyricist and book writer, must not only generate original ideas, but they must also take all these elements and weave them seamlessly together. This “musical baby” needs to be immersed in a series of collaborative “incubators” in which they will explore what is working well, change the things that are not, and creatively experiment. These incubators are known as developmental readings, workshops and labs. 

Readings are an integral part of any musical’s development. By periodically hearing their ever-evolving material read and sung out loud, writers assess and refine their work-in-progress. There are several types of readings, but in general, they do not have costumes, sets, elaborate lighting or sound design, and actors have the script and score in hand. Orchestration is usually limited to a keyboard. 

A “Table Reading” is the simplest form where actors literally sit around a table and read the script. At the next level are Readings that are presented for audiences, and which follow a more involved period of “workshopping.” In this process actors may be asked to experiment with the material and delve deeper into the characters. Since they are presenting from music stands without props or sets, key stage directions may be read. A “Staged Reading” is the most elaborate of readings where actors remain “on-book”, but directors may enhance the presentation by having them move out from behind their music stands to sing to each other. This helps the writers and audience alike to better visualize the dramatic work. The participation of actors, directors and audience in a series of readings can provide essential feedback for the writers to make necessary improvements to the dramatic structure and storytelling in their scenes and songs.

The terms “workshop” and “lab” are frequently used interchangeably but these words become more technical and rigorous in their definitions inside the highest circles of the professional theatre world. Labs and workshops usually follow a series of readings and differ primarily from a reading in that they involve more fully staged presentations that include blocking, choreography, and the actors “off-book”. They typically still don’t have major sets or complex lighting and costumes, but some workshop presentations may approach a full-blown production. Even so, it is considered a workshop production because the show is still developing, and the writers may yet be rewriting scenes and new songs!

In developing a new musical, whether in staged readings, labs or workshop presentations, there is a ring of truth in the idea that “musical theatre is arguably the most collaborative of artforms.” Whatever our role in that “collaboration” as the writers, directors, producers, actors, crew, the theatre, or audience members, it is a privilege to come together in an amazing developmental process that is so essential to the creation of an exciting new musical. 

Music and lyrics by Stephen Schwartz, Book by Winnie Holzman

1996 initial idea for a musical based on Gregory Maguire’s book called, Wicked.

Spring 2000: First private reading presentation of 4 songs and narration

September 2000: The first reading of Act 1 took ell over 2 hours to read and sing through!

Underwent a series of seven significant readings and workshops

Stephen Schwartz wrote up to five versions of certain songs in Wicked before getting them “just right.”

May 2003 Out-of-town try-out, San Francisco. Running time was 3 hours, 20 minutes.

Summer 2003: More script and score cuts, rewrites and out-of-town tryouts 

October 30, 2003: Wicked opens on Broadway as a 2 hr 45 min. show.

Book Of Mormon: 

Trey Parker, Robert Lopez, and Matthew Stone collaborated on the book, music, and lyrics

2003 initial idea.

2006 basic plot and 1st few songs were written.

2008 First reading of 6 songs and most of Act 1.

Subsequently, there were 5 additional readings and workshops.

2010 An out-of-town tryout was scheduled but cancelled. The show skipped this step and...

2011 Book Of Mormon premieres on Broadway

Hells Kitchen:

Score by Alicia Keys, Book by Kristoffer Diaz

2011: Alicia’s first idea for making her songs into a jukebox musical: Kristoffer Diaz joins as book writer.

2018: Michael Greif seasoned musical theatre director (Rent and Dear Evan Hansen) joins the project.

2023 October: off Broadway premiere 

2024 March: Hells Kitchen transfers to Broadway

13 Years for the star performer, Alicia Keys, to go from first inspiration to opening on Broadway. 

Alicia said in an interview, “It’s been years and years in development. I feel like you can’t rush greatness.”