Broadway Grosses w/e 7/15/2018: The Heat Is On.

The following are the Broadway grosses for the week ending July 8, 2018.
The Broadway grosses are courtesy of The Broadway League
Read more here:

Prime Day’s Top 10 Theatre Gifts on Amazon!

Special Amazon Prime Day Post y’all!

Amazon Prime Day is one of the biggest online shopping days . . . well, phenomenons really . . . that happens all year! There are deals, deals, deals and if you want to get some early holiday shopping done TODAY is the day to do it!

There are tons of fun products on Amazon that appeal to Writers, Producers, Actors and other theatre professionals, but we’ve selected our top 10 favorite Broadway gift ideas for you.

For theatre students, Broadway fans, and board game enthusiasts. . .

Be A Broadway Star is the popular Broadway board game that puts YOU in the spotlight! It’s like The Game of Life but Broadway-themed. Through interactive “Make or Break” cards and Audition Card challenges, you’ll compete to make it all the way to the Broadway Hall of Fame.

New for 2018: The brand new Expansion Pack features cards from Broadway’s latest hits including Frozen, Mean Girls, Harry Potter & The Cursed Child and Once On This Island.

Buy on Amazon

If you’re looking for something practical. . .

My Broadway Binder is the best way to organize and protect your Broadway playbills in style. With a 3.5” spine, this Broadway playbill binder holds up to 25 show programs when sheets are inserted (sold separately). Cherish your Broadway memories for years to come with this nifty binder!

Buy on Amazon


If you’re looking to solve a puzzle. . .

…with your favorite Broadway stars, check out Broadway’s Brightest Stars Puzzle! This 1,000 piece jigsaw puzzle features 20 showbiz celebrities famous for their work in shows like Hamilton, Wicked, Dear Evan Hansen and more. Hand Painted by watercolor artist Lacey Hennessey, this puzzle is the perfect gift for Broadway musical theatre buffs and puzzle fanatics alike!

Buy on Amazon


For the teen or fashionista in your life. . .

Broadway Nail Art is the fashion-forward way to show off your love for Broadway! Each pack includes 30 nail decals that can be applied in just 20-30 seconds per nail. These sticker tattoos include theater icons like a Tony Award, a Ticket Stub, a Broadway sign and more. The decals come in 3 different sizes, all included on 1 sheet. Give yourself or a fellow Broadway fan a Broadway star-quality polish!

Buy on Amazon


If you want to boast about your Broadway memories. . .

This Playbill Frame lets you hang your playbill and ticket stub for the world to see! The mat with insert holds one 5.5 x 8.5-inch Playbill and one ticket stub for easy mounting. Manufactured in Satin Black eco-friendly molding with full strength glass, this frame ensures that your memories last in tip-top shape.

Buy on Amazon


If you want a Broadway book to add to your Summer Reading List. . .

How ’bout mine? In “How to Succeed in the Arts. . . or in Anything,” I share the directions that took me years to gather, but the directions that are without a doubt responsible for getting me where I am today. And I know that they can do the same for you. If you’re imagined being a Producer or a Writer…an Actor or a Director. .. or a real estate investor, hedge fund dude, or anything really. . . you can do it with this book.

Buy on Amazon


If you want to study up on your musical theatre history. . .

…try acing the nearly 80 quizzes in The Broadway Musical Quiz Book! This book covers everything from the careers of major Broadway stars, songwriters, directors, and producers, ranging from Ethel Merman to Stephen Sondheim. It also features thematic quizzes such as musicals set in France, adaptations from literature, jukebox musicals, and more. With over 7,000 shows mentioned and over 1,200 questions, The Broadway Musical Quiz Book is something for everyone who loves Broadway musicals!

Buy on Amazon


If you need some terrific tunes for your summer playlist. . .

. . . look no further than the cast recording of the 2018 Tony Award-winning Best Musical Revival – Once On This Island. You’ll want to play this Ahrens & Flaherty score on repeat, especially once you hear the voices of Tony Award winner Lea Salonga, Glee’s Alex Newell, Tony nominee Hailey Kilgore, and the entire company on this new Broadway cast recording. Stream or purchase the album – either way, you’ll be hooked. I certainly am  😉

Buy on Amazon


For the Diva ( in your life . . .

Send ‘em the hilarious (and stylish) “This Better Not Be My Costume” t-shirt! All actors want to look great in and out of the spotlight and now they can. Available in a variety of cool colors and sizes, your actor friends will love showing off their love of Broadway like a fashionista!

Buy on Amazon


For the future Pulitzer Prize Winners . . .

Celebrate the writer in your life with this witty “If I Write, I Can’t Be Wrong” t-shirt! Playwrights deserve to show their passion with pride, too. Available in various colors and sizes, writers really can’t go wrong with this special tee.

Buy on Amazon


Happy Prime Day, everyone!

GUEST BLOG: Deconstructing a Song with Kleban Prize winner Amanda Yesnowitz

As the story goes, Dorothy Hammerstein once overheard a man at a lavish NYC event extolling the virtues of “Ol’ Man River.” Correcting the fellow, who attributed the song’s genius to Jerome Kern, she interjected sassily: “Jerome Kern wrote ‘dum, dum, dum-dum.’ My husband wrote ‘Ol’ Man River’.”

Historically, lyricists get the short shrift. But the truth is that when we’re doing our jobs most compellingly, we shouldn’t be noticed at all. Lyrics should feel organically generated by characters, not writers. Still, when we study the musical theatre canon, we can learn a lot from those wordsmiths whose many gifts have helped develop the form. In my mind, Jerry Herman is one those versifiers who falls through the cracks. Certainly, he’s often recognized for being a songwriting stalwart but he is one of the most underrated lyricists in musical theatre and I know exactly why: he makes lyric writing look effortless. His lyrics are all at once character specific and easily extractable. Favoring economy of language, simple song forms, and uncluttered images, Herman is a lyricist of the people. He knows what you’re thinking, what you’re feeling, what you’re desiring but he knows how to articulate those thoughts, feelings, and desires better than you ever could.

Sentiment is so difficult to represent at the lyric level lest it become sentimentality— ersatz poetry, generic longing, periwinkle moons. Ick. In order to convey sentiment effectively, the writer must push against it as much as possible, creating tension between the ideas being expressed and the actual vehicle for those expressions.

I chose “I Won’t Send Roses” to deconstruct because it makes me weep every time I hear it. And it’s not because I go into some personal reverie about what the song means to me; it’s because I am always seduced into the world of the song.

For reference, the lyrics are below:

I won’t send roses

Or hold the door

I won’t remember

Which dress you wore

My heart is too much in control

The lack of romance in my soul

Will turn you grey, kid

So stay away, kid

Forget my shoulder

When you’re in need

Forgetting birthdays

Is guaranteed

And should I love you, you would be

The last to know

I won’t send roses

And roses suit you so


My pace is frantic

My temper’s cross

With words romantic

I’m at a loss

I’d be the first one to agree

That I’m preoccupied with me

And it’s inbred, kid

So keep your head, kid

In me you’ll find things

Like guts and nerve

But not the kind of things

That you deserve

And so while there’s a fighting chance

Just turn and go

I won’t send roses

And roses suit you so.


In terms of structure, we have two A sections. That’s all. No B section. No chorus. No release. Not even a coda. Just two verses with a repeated refrain.

Again, the efficiency of this song astounds me. But its construction is far more intricately crafted than the casual listener might realize.

In general, rhymes whose emphasized syllables are spelled differently (contrOL/sOUL), as well as rhymes that are different parts of speech (wore/door), will always land better on the ear. Really.

This song is comprised almost entirely of rhymes that fall into either category, and in some cases both. Also, when the second verse begins, lines 1 and 3 are rhymed (frantic/romantic) while in the first verse

they are not (though the parallel ‘I won’t’s do ground us). The increased rhyming inherently gives the song momentum without announcing such a build.

We may not realize the shift as it goes by—in fact we shouldn’t realize any of these mechanics while we’re listening—we just know the song works in and of itself as it works on us.


For a comprehensive look into the art and science of lyric writing, register for Amanda’s upcoming workshop in NYC. The workshop will be held on Wednesday, July 18th and few spots remain. Sign up here!


AMANDA YESNOWITZ is the Winner of 2018 Kleban Prize, Jonathan Larson Award, Dramatists Guild Fellowship, Dottie Burman Award, Jamie deRoy and Friends Award, and 8 MAC nominations, all for excellence and vision in lyric writing. Selected projects: SOMEWHERE IN TIME (Portland Center Stage world premiere; 7 PAMTA noms; NAMT finalist), BY THE NUMBERS (ASCAP Workshop; Goodspeed’s Mercer Colony), THE HISTORY OF WAR (NYMF invited selection), THE CAUCASIAN CHALK CIRCLE (Hangar Theatre world premiere). RECORDINGS: “Gotta Start Small” (Stephanie Block, PS Classics; Live from Lincoln Center /PBS/Broadway HD). PODCASTS: LiveWire Radio; Keith Price’s Curtain Call. Notable: Featured writer at the Kennedy Center (ASCAP centennial) and Boston’s Symphony Hall (“No Looking Back” performed by Keith Lockhart and the Pops). Her lyrics have been published in The DramatistTimeNewsdayThe NY Daily NewsThe Sydney Morning Herald, and The New York Times. Strange but true: competitive crossword puzzle solver and published constructor (NY Times, 08/26/12. . . no ordinary Sunday).

Broadway Grosses w/e 7/08/2018: No real fireworks for the Fourth.

The following are the Broadway grosses for the week ending July 8, 2018.
The Broadway grosses are courtesy of The Broadway League
Read more here:


As I type this, we are four days away from the 15th annual New York Musical Festival (NYMF). On July 9th, 30+ new musical productions, concerts, readings, and educational events will descend upon midtown Manhattan (West 42nd St between 9th and 11th Avenues, to be precise) and showcase their developmental work to a New York audience over the course of four weeks.

But let’s not get ahead of ourselves. Since NYMF is a 4-week summer festival, I often get the question, “So what do you do the rest of the year, when the Festival isn’t happening?” People are surprised to hear that the Festival is a full-time, year-around gig and planning for the next Festival begins mere weeks after the previous one has ended. Think of it as a regular theater season with all the programming condensed into 28 non-stop days. The Festival process for me as Producing Artistic Director begins around Labor Day each year when the submissions process for the Next Link Project opens. What is the Next Link Project, you may ask? The Next Link Project anchors the Festival – it’s our primary writer service program that, through a rigorous double-blind evaluation process, selects ten writing teams and their shows to present a production in the Festival. These Next Link teams receive administrative, creative, dramaturgical, and financial support, culminating in a subsidized production in the Festival. By “double-blind,” I mean there are two levels implemented to remove bias from the process: the first, authors’ names are removed from all their materials to maintain the integrity of the work; and secondly, readers’ names are not revealed to one another, so we can get an impartial evaluation from each reader on our Reading Committee (made up of dramaturgs, directors, literary managers, and other working theater professionals).

Next Link submissions close in early November and our reading committee furiously finishes screening (the first stage: evaluating a 15-page excerpt with demos) and reading (the second stage: evaluating the full materials) for another month, leading up to what we affectionately refer to as the Reader Smackdown.  This day-long event gives readers a chance to reveal themselves to one another and debate which shows should be shortlisted as finalists for Next Link. By the end, we typically have 40 shows for me to personally review and determine the top 20 or so finalists. Those shows then go on to be evaluated by our Grand Jury of fancy directors, actors, choreographers, and producers. With their input, we select the ten Next Link Projects in mid-late January! Phew.

But these ten Next Link Projects make up just about one-third of the Festival (and even less in previous years). So where do the other shows come from? Well, many new musicals that come through submissions are conceptually compelling but need time to focus on strengthening their storytelling and character development before they’re ready for production prime time – ten of these shows will eventually go on to be a part of our Developmental Reading Series, which is a barebones presentation in a rehearsal studio with actors on book at music stands (essentially a 29-hour AEA reading). We also choose a few shows – either through submissions or through our email solicitation – to participate as “Invited Productions.” To the outside eye, the Next Link Projects and Invited Productions are really the same and fall under the umbrella category “Productions” – they include all the same production elements (lights, sound, costumes, choreography)- but internally, Invited Productions don’t require the same level of support as Next Link (for example, an experienced producer may want to use the existing Festival structure to share their project with an audience). It’s important to note though that all productions must be considered within the context of the Festival and we recommend they lean in to being suggestive rather than emphasize big-budget Production Values (shows do share space and have limited tech time, after all – it’s a creative challenge). The 2018 Festival will have two Invited Productions along with our ten Next Link Projects.

Concerts and educational events round out the programming – concerts tend to follow a song cycle format and many of these are produced by us. In 2017, we began commissioning what we call “micro-musicals” (30 minutes or less) inspired by politically relevant prompts, which culminate in a concert series entitled How the Light Gets In: An Evening of New American Micro-Musical Works one evening of the Festival. This initiative was developed to create more space for democratic discourse in the Festival as well as create more opportunities for artists to access and participate in the Festival. It’s been a big goal of both mine and our Executive Director Dan Markley’s to remove as many barriers to entry as possible so we can consistently ensure that the most exciting talents have a place at NYMF – we are well on our way.

As a curator, I aim to make sure these 30+ shows showcase a wide range of stories, themes, structures, and musical styles. I’d like to believe there’s at least one show for every Festival goer to revel in, no matter his or her personal aesthetic. I also firmly believe that it’s my job to amplify artistic voices with meaningful stories to tell that have yet to be heard. This year, we will use the Festival’s platform to share stories centered around racial justice, immigration, queer and trans representation, mental illness, and other vital issues – musicals can be challenging, invigorating, and encourage empathy! Of course, we also have a musical about alien lizards that conspire for world domination through a beauty pageant. (Balance is important.)

To learn more about the 2018 Festival, visit Submissions for the 2019 Next Link will open on August 29, 2018.


RACHEL SUSSMAN is an award-winning New York-based producer committed to nurturing accessible, inclusive work through creative collaboration.

Rachel is a co-founder of  The MITTEN Lab, an emerging theatre artist residency program in her native state of Michigan as well as The Indigo Theatre Project, a theatre company of passion and purpose dedicated to producing play readings that benefit related non-profit organizations, most recently, An American Daughter (starring Keri Russell and Hugh Dancy for She Should Run). She serves as the Producing Artistic Director for the New York Musical Festival (NYMF).

Rachel has worked with such companies as Second Stage Theatre, 321 Theatrical Management, RKO Stage Productions, Goodspeed Musicals’ Mercer Colony, The Sundance Institute Theatre Lab, Lincoln Center’s American Songbook, The Tony Awards, and CREATE-Ireland in Dublin, Ireland. Independent producing credits include:  the Obie award-winning production of The Woodsman (New World Stages/59E59), Don’t You F**king Say a Word (59E59), The Rug Dealer (Women’s Project Pipeline Festival), The Sweetest Life (New Victory), and Talk to me about Shame (FringeNYC, Overall Excellence Award). Upcoming: Eh Dah? (Next Door @ NYTW) and a new musical about the American women’s suffrage movement by Shaina Taub.

Rachel is a 2014-2016 Women’s Project Lab Time Warner Foundation Fellow, a trustee emeritus for The Awesome Foundation NYC, and a two-time finalist for the T Fellowship in Creative Producing. She sits on the Advisory Board for Strangemen & Co. and The Musical Theatre Factory as well as the Artist Board for Encores! Off-Center. She is a proud member of the Ghostlight Project Steering Committee and the Covenant House Broadway Sleep Out Executive Committee. Rachel is a graduate of the Commercial Theater Institute (Fred Vogel Scholarship) and a University Honors Scholar alumna of New York University’s Tisch School of the Arts.

The New York Musical Festival (NYMF) nurtures the creation, production, and public presentation of stylistically, thematically, and culturally diverse new musicals to ensure the future vitality of musical theater.

Now in its fifteenth year, the Festival is the premier musical theater event in the world. The preeminent site for launching new musicals and discovering new talent, the Festival provides an affordable platform for artists to mount professional productions that reach their peers, industry leaders, and musical theater fans. More than 90 Festival shows have gone on to productions on and Off-Broadway, in regional theaters in all 50 states, and in more than 24 countries worldwide. Festival alumni have received a wide array of awards including the Tony Award® and the Pulitzer Prize. In 2013, NYMF received a special Drama Desk Award in recognition of its work “creating and nurturing new musical theater, ensuring the future of this essential art form.”