Once you have a workable draft of your musical, you need to hear it read aloud. There are three main types of readings to consider: a private reading (unrehearsed), a closed reading (rehearsed), and an open reading (staged). The first is just for you, the second is for your friends and family, and the third is for the public. How many of these you use, and the speed at which you move through them, is up to you. At a minimum, you should have at least one private reading before moving on.
To prepare for a private reading, don’t worry about formatting your script. Just make sure you have a printed document with all the words. At a minimum, the character names should precede their lines, the lyrics should be in capital letters (to indicate songs), and any scene changes should be noted.
As you and your performers sit around the table, have them read (not sing) the dialogue and lyrics straight through. You may be tempted to sing the songs yourself, but you need to hear your work as objectively as possible. Listen for moments that sound off, and look for moments that give the performers trouble. Make notes on your copy of the script as you go. With this reading, you can focus on the script: the dialogue and lyrics.
Afterward, you may ask your readers what they found confusing or unclear, but don’t ask for more than that — and don’t answer their questions on the spot. Consider their input and your impressions to make changes in the script: new scenes, new lyrics, etc. Do as many private readings as you need — but don’t get stuck at this step. If you’ve done a handful, it is time to move on.
It’s good to start the first rehearsal for your closed reading with a straight read-through, before turning to the sections that are most complex. As you continue rehearsals, keep listening and watching for what needs the most attention and make that the central work of your next day. Take the opportunity to make rewrites in the music and words after each rehearsal (and give the performers those changes before your next meeting), but don’t try to fix everything. Tackle the big problems. You should only need a handful of rehearsals.
For the closed reading, don’t worry about your performers memorizing. It should be done with scripts in hand — and a musical track or keyboard player for the songs. Again, you need to hear your work as objectively as possible. Write any thoughts, feelings, or concerns you have as you watch and listen. Afterward, take questions from your family and friends, but don’t try to provide answers on the spot. With this reading, you can focus on the score: the music and lyrics.
The process of rehearsing an open reading is similar to a closed reading, only with some movement added — but don’t worry too much about staging. You want the audience to focus on your writing. The performers can sit in chairs along the back or sides of the stage area, then stand and walk center with their scripts in hand (to a music stand or not). Again, write any thoughts, feelings, or concerns you have about the musical.
Above all, trust the audience to guide your next rewrites. Where did they laugh? Where did they yawn? With this reading, you can focus on how all the parts work together to tell your story. For an example of a staged reading, watch the 2019 Thespian Musicalworks finalist, The Wrath of the PTA, by Jared Goudsmit and Max Reinert, which I produced.
As you go through the various readings, your show may move from A to Z, from A to B, or from A to Z and back to B. That is natural. It takes trial and error. And your musical isn’t finished until you’re happy with what you see and hear. For a writer’s perspective on the development process, read playwright Tira Palmquist’s “rules of engagement” about working on a new show.
For some digital diversions, check out The Stage, a British theater site that has posted their list of the 50 best stage shows to stream right now, including 12 musicals.
Jason Robert Brown livestreamed a concert on SubCulture’s Vimeo and Facebook, featuring Ariana Grande (who was in his Broadway musical 13) and Shoshana Bean (who was in his Songs for a New World at New York City Center).
And if you haven’t yet watched Take Me to the World: A Sondheim 90th Birthday Celebration, watch it now.
Next, feedback and rewrites.