DOWNLOAD YOUR FREE PDF of the “NORTH STAR QUESTION SETS” HERE: https://michael-radi.mykajabi.com/north-star-question-sets Are you aware of the best-kept secret collaborator in the business? I mean, what other job title in the industry has the potential to be part coach, part consultant, part expert, part liaison, and part quality-control? That’s right, I’m talking about the Dramaturg.

DOWNLOAD YOUR FREE PDF of the “NORTH STAR QUESTION SETS” HERE: https://michael-radi.mykajabi.com/north-star-question-sets You want to write a musical, or you started one, or maybe you even have one written, but now you want this thing to actually happen in a full production. So…how do you get there? Here are the 6 steps you NEED to take to get your show to production!

DOWNLOAD YOUR FREE PDF of the “NORTH STAR QUESTION SETS” HERE: https://michael-radi.mykajabi.com/north-star-question-sets Early on in my writing career I used to have a hard time figuring out how to get a story moving in the right direction, and keep it moving consistently. Until I finally figured out the formula to avoid all of these potential problems. I call them your North Star Question Sets!

One of the most underutilized compositional tools in the musical theatre composer’s tool belt is playing with various musical modes. With a slight change of your starting note - aka the tonic - you can create a whimsical world, set the audience on edge, pull your protagonist through a challenge, or reveal a character’s true intentions. Let’s explore!

Here are 20 big ole writing tips for all of you out there writing your very first musicals, delivered to you in less than 7 minutes!

There is no denying that musical theatre has a specific sound to it, but the music is still rooted in pre-existing musical genres. And having the ability to utilize differing musical genres in your musicals can help with storytelling, world building, framing your structure, and even character development. So, how do we approach this? What can we do with different genres of music?

Composers: What if I told you that you could use one simple set of tools to pull yourself out of that box you’ve put yourself in, to write something fresh, create variation in your scores, and amplify your musical world and characters beyond your usual compositional tricks? You want in?

Here are 5 myths about the editing and revising process that are holding you back from getting your shows to where you want them to be!

Writing compelling stories and characters has to be one of the most common issues and blocks I see amongst writers, and particularly musical theatre writers. So what can we do? Where do we start? There are three incredibly powerful tools we have at our disposal.

This one concept is the easiest way to quickly write your musicals. Because, let’s be real, sometimes we get stuck or overwhelmed or caught up in a form of Writer’s Block - however that shows up for you. With this idea, we can get around our blocks and finish our shows with speed and ease!

In this interview with David Benkof - aka the Broadway Maven - we talk all about the freedom to interpret musical works in a deep analysis that goes beyond what you might initially see. What did the writer include for us to find? What else is there to uncover that the writer may not have even consciously planted? We also talk about Stephen Sondheim (our main topic), BroadwayCon, Howard Ashman, Cabaret, and much more!

Whether you’re a beginner or a seasoned pro, being crystal clear in these 7 areas will help you be able to write your musicals and make them great! But without clarity on all 7 points, blocks and struggles may appear and obstruct your work.

The writing and development process for musical theatre can be a real rollercoaster of emotions that’s filled with a lot of hurry up and wait. It was 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 was. And today I’m going to break down that entire journey to production for all of you!

In this interview with EFT Coach Jenny Clift, we discuss how tapping can be extremely helpful for writers - and all creatives - to release energetic blocks, overcome inner obstacles, and find creative freedom.

The ending of your show is the last thing the audience is going to experience before they go out into the world and make judgements about their entire experience. And that means the stakes for are high. So, how can we make sure we nail our endings every time? Let’s explore!

What makes a story ripe for adaptation into a musical? Why do some musicals seem like no-brainers, while others make us scratch our heads and think, “Huh. Really? That one?” Here are 4 mistakes I see that you can avoid when choosing what material to adapt into a musical!

Standard song forms are great - they provide us with tried-and-true ways to write character, develop plot, and write our musicals succinctly. But they aren’t always the most interesting forms, especially when every song in the show follows the same few structures over and over and over… But luckily there are plenty of other non-standard ways to write and structure a song in musical theatre, which we have seen work time and time again. So, today let’s talk about non-standard song forms!

You’re going to need some basic music theory knowledge if you’re going to talk about the music side of creation when writing a musical, even if you’re not the composer. Here are the absolute basics that you need to understand in order to discuss music with a composer, singer, or instrumentalist during the musical writing process.

With phrases like “A hit!” “A flop!” “Rave reviews” “Totally panned” “Recouped its investment” and “Closing in the red”…it gets really difficult to parse out what makes a musical a “success” or a “failure.” So, how can we sort this out?

What defines a musical? Where do we draw the lines between other forms, like concerts, cabarets, dance pieces, revues, operas and operettas?? How can we sort out the mess, so you clearly know what exactly it is that you’re writing?

You’ve got big dreams for your shows and projects, which means creating some big plans to make them a reality. Let’s talk about some steps you can take to make sure you are able to finish those projects and make those dreams come true! GET HELP making your projects a REALITY in the “DID IT!” Accountability Group Program: https://www.michaelradi.com/did-it-accountability-group

We always seem to focus conversation on writing the songs in musical theatre, but that’s not the only music that’s involved in most shows. What about all the rest of it? The music under dialogue, between story moments, and the literally unsung pieces? Where do they come from? How do we create them?

What is Orchestration? How do you do Orchestration? What do I need to think about instrumentally as I’m writing songs? What does an Orchestrator do? How does this all work??? If you’re a musical theatre writer and have asked any of these or similar questions, then this video is for you!

Comedy Songs: Perhaps the hardest songs write, but boy do audiences love them! And the secret behind writing comedy songs may not be what you think it is. It may surprise you…so let’s deep dive!

I wanted to know what would happen if I asked ChatGPT to write 4 song lyrics to the same prompt in the various styles of famous musical theatre writing teams: Rodgers & Hammerstein, Kander & Ebb, Stephen Sondheim, and Pasek & Paul. So, what was the result? Is AI truly coming for our jobs?!