Got a musical? Submit it to NYMF . . . but hurry.

The morning after one of his new shows opened, Hal Prince always held a production meeting for his next show.  It always kept him moving forward, and never allowed him to bask in the glory if his show was a hit, or get too depressed if his show wasn’t . . . because there was work to do on the next one.

It’s one of my favorite lessons from this book (which I highly recommend), and it’s something that I’ve adopted as well.

And I’m not the only one . . .

The New York Musical Theatre Festival just ended a few days ago. They haven’t even had their awards gala yet (which is on Nov. 6th, btw).

But they are already seeking submissions for next year’s festival!

In a schedule switch-up, next year’s NYMF will happen in July, which means the script-reading crew upstairs (NYMF and I share a building) will be hard at work soon enough.

So, if you’ve got a musical that you think could be the next Next to Normal, [title of show], or (yep), Altar Boyz, then submit away . . . but the deadline is SOON!

You have to send in your script by October 31st.  And that’s, gulp, 11 days away!

To submit your script, click here.

If you haven’t finished or even written your script, you’ve got 11 days to do it.  And don’t say “it can’t be done.”  What’s the worst that could happen . . . you don’t get in?  At least you’ll have a script, right?

That’s what Hal would do. (I may get post-it notes made up that say “WWHD”).

Good luck!


(Got a comment?  I love ’em, so comment below!  Email subscribers, click here, then scroll down, to say what’s on your mind!)



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  • Hi Ken,
    I investigated NYMF and the fine-print detailed
    agreement insists that you spend at least
    $15,000 to start.
    Something like $500 per actor per whatever.
    It is not exactly affordable.
    Demetria Daniels

  • Eli K-W says:

    It seems like NYMF is growing up from being a haphazard collection of true downtown new works. Recently new Equity contracts were created for it, and – was this move to July done so that a nymf production can essentially be a backers audition, and a show could get a full production on off/b’way later in that very season?
    It’s good that the festival is moving up in the world and in the eyes of the industry, but for truly new shows that have no investors or b-list star attached, the industry might have to look elsewhere.
    Does the road-to-broadway attitude really create a helpful environment for shows? I worked on a show that had lots of hype, and went into nymf after previous workshops and the commitment of a semi-famous lead. It was exciting but nothing ended up happening to it despite the high expectations, since at the end of the day it was just all that – hype. Gay hype, I will add…. the nymf crowd (including myself) is so different from your average audience member.
    Despite all this looking forward to seeing great new work at upcoming festivals!

  • Allan says:

    I’ve never heard of the New York Musical Theatre Festival before, it’s probably because I live in England, although I guess it’s fairly natural for New York to have an event such as that, what with the city being a world centre for musical theatre presentations. I’m not really a ‘producer’ of stage musicals, I’ve MD’d cruise ship productions and show bands in professional theatre for a good few years and now I’m primarily a composer.
    I am intrigued after hearing about this ‘submission’ process for new musicals, and although I won’t have the score ready for my musical by the deadline this year, I was wondering about the process and how likely is it for my work to be considered by the panel or adjudication committee if I were to as best to finalise the work for next year?
    I have the book for the most part worked out, in fact reworking a classic British comedy tale the synopsis of which I won’t go into. Many of the skeleton scores already exist and I was hoping to raise some initial funding for the musical through this Crowd Sourcing website called It seems many people have raised substantial sums for music, art and film projects, in some cases like $100,000. You should check the site out. Reading the small print though, the opportunity is only open to artists and projects based in the US, and with me being in the UK my project going forward wasn’t eligible to be featured on the site. Hence at the moment, the project is sat in waiting whilst I complete other composition and music production work.
    I couldn’t even really pretend to know the technical ins-and-outs of producing a broadway or off-broadway show. Just by reading your blog and about what has been happening with the new Godspell production I’ve realised just how complex the process getting the financials and scheduling of a show is, let alone other things that haven’t even come into my mind yet. I can write songs, and orchestrate though, even tell a story with effect.. I’m hoping.
    Now I’m sitting here writing this all down, it occurs to me that it may serve me well to try and find an aspiring producer or even someone with good experience at bringing shows to life, and perhaps using that crowd fund-sourcing website based in the US to help finance the show or costs for the NYMF to which the other person to comment on the blog alluded to. I wonder if that is something you may consider helping with, or perhaps somebody may see. I can be contacted at, however my name’s Allan (Felix was a stage name I was using).
    Anyway, thanks for letting me share my thoughts.

  • Bryan David says:

    Dear Mr. Davenport, et al:
    What & how does a poor Playwright & Lyricist with over a dozen (12) Two-Act Musicals do if I/We can’t afford to submit my/our works to the NYMF? Here’s Two (2) samples:
    “Whitechapel” ©
    The Life & Times
    ‘Jack The Ripper’
    A Musical Love Story! ™
    © Copyright 1996/2007
    Bryan David/Brandon Kress
    All Rights Reserved
    “Wilde About Me!” ©
    The Life, Loves & Lawsuits
    Oscar Wilde! ™
    © Copyright 2010
    Bryan David/Brandon Kress
    All Rights Reserved

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