This week, host Luisa Lyons chats with actor Jalynn Steele about the upcoming livestream of Titanique the Maiden Voyage Concert. Titanique is a new parody musical that reveals what really happened to Jack and Rose on that fateful night, as told by Céline Dion! 
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In this laugh-filled chat, we talk about the joy of performing, going to State for theatre, what Jalynn learnt during the pandemic, performing with COVID restrictions, The Lightning Thief: The Percy Jackson Musical, and the importance of diverse representation on Broadway.

Jalynn Steele is an energetic light placed here on earth to shine joy to everyone. Through the years she has graced many stages across the world and is extremely excited to join the awesome cast of Titanique! Credits include; Broadway: The Lightning Thief: A Percy Jackson Musical, Off Broadway: Sistas: The Musical, National/International Tour: Fosse, Regional Theatre: Mamma Mia, Beehive, and Little Shop of Horrors. Other credits include; Sesame Street, After Midnight, Rock of Ages, Burn the Floor, The Wiz, Songs for a New World, and recently, many virtual performances. Her life’s creed, “Live, laugh & love!” Follow on Facebook and Instagram. 

Titanique the Maiden Voyage Concert will be livestreamed at 7.30pm EDT on May 2. Tickets are available from Stellar. 

The Filmed Live Musicals podcast is available wherever you listen to podcasts including Apple Podcasts, Google Podcasts, Overcast, Spotify, Stitcher, and more! If you like what you hear, please leave a review and help get the word out! 

This week host Luisa Lyons chats with Filipino-American artist Lourds Lane - book writer, composer, lyricist, arranger, and violin-playing co-star of the new rock musical SuperYou. The musical was scheduled to open off-Broadway in May 2020, but was postponed due to the pandemic. Instead, a concert version was performed on the back of pick-up trucks at a drive-in in upstate New York. The concert was filmed and is available to stream on Broadway on Demand!

We talk about how music inspires, how writing music for a touring rock band helped Lourds write a musical, the Medusa Festival, the intensely personal inspiration behind SuperYou, why the team defied industry malaise at the start of the pandemic and staged the drive-in concert, how the concert was filmed, and putting your work online.

Learn more about Lourds Lane at www.lourdslane.com and SuperYou at www.superyoumusical.com. 

SuperYou is available to stream on demand until April 15, 2021 at Broadway on Demand.

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Filmed Live Musicals is the most comprehensive online searchable database for musicals that have been filmed live on stage. Follow us on Facebook and Twitter. You can also support the site at Patreon. Patrons get early access to content, no matter how much you pledge.

On episode 17 of the Filmed Live Musicals podcast, host Luisa Lyons chats with the Creative Director of HMDT Music, Tertia Sefton-Green. 

We chat about HMDT Music's extraordinary children's theatre education program pre-pandemic, the fortuitous decision to downscale in 2019, and the new female-led musical Jina and the STEM Sisters. The musical is available to stream on demand worldwide until April 11. Book your tickets here! 

HMDT Music, twice winner of the prestigious Royal Philharmonic Society Award for Education and of the 2020 Excellence in Musical Theatre Award, is a leader in commissioning inspiring musical works embedding the arts across all areas of learning for young people. Key successes include: Trench Brothers commemorating ethnic minority soldiers in WW1; Shadowball ground-breaking baseball and jazz opera; Hear Our Voice international tour of a new work compiled from children’s Holocaust writings. HMDT runs an extensive Saturday Music Programme and arts-rehabilitation projects for young offenders. Their Creative Director Tertia Sefton-Green has created, commissioned, managed all their large-scale projects in addition to fundraising and writing some of the libretti. She also conducts their I Can Sing! music theatre programme. Learn more at www.hmdt.org.uk.

Thank you to the Filmed Live Musicals patrons Josh Brandon, Mercedes Esteban, Rachel Esteban, James Lane, David Negrin, Jesse Rabinowitz and Brenda Goodman, Al Monaco, David and Katherine Rabinowitz, and Bec Twist for your support.

Filmed Live Musicals is the most comprehensive online searchable database for musicals that have been filmed live on stage. Follow us on Facebook and Twitter. You can also support the site at Patreon. Patrons get early access to content, no matter how much you pledge.

This week on the Filmed Live Musicals podcast, host Luisa Lyons chats with New York-based Australian director Benita de Wit.  

We chat about creating pertinent work with college students during a pandemic, the LIU Post Sondheim cabaret One More Thing Not to Think About, what makes a good theatre capture, what makes theatre “live” and human, why a student production of Kiss Me, Kate stuck in Benita’s memory, the upcoming stream Alter/Ego and how Bowie is relevant to Gen Z, and what it means to theatricalize pop music.

Benita de Wit is a New York-based Australian director of theatre and performance.  They are the Associate Director for the international tour of  “Bat Out of Hell” and have an MFA in Directing from Columbia University. Recent credits include “One More Thing Not To Think About” (Post Theatre Company), “The Laramie Project” (Pace University), “Slaughterhouse” by Anchuli Felicia King (Belvoir, 25A), “The Silence” (MIT, Associate Director), "The Moors" (Off Broadway, Assistant Director), "The Rape of The Sabine Women by Grace B Matthias". Benita is an Adjunct Professor at Pace University and an Associate Member of SDC. Learn more at www.benitadewit.com.

Show Links
One More Thing Not to Think About 
https://vimeo.com/jstudiosny/review/486420579/14dffcb021
Password: N3wSw!*LIU2020

The Laramie Project
https://performingarts.pace.edu/current-season

Alter/Ego
https://www.facebook.com/liuposttheatrecompany/

​Filmed Live Musicals is the most comprehensive online searchable database for musicals that have been filmed live on stage. Visit www.filmedlivemusicals.com to learn more. Follow us on Facebook and Twitter. You can also support the site at Patreon. Patrons get early access to content, no matter how much you pledge.

While some of us are spending the pandemic baking bread, binging Netflix, and staring into the void afraid and half-hopeful that this will now be life as we know it, folks across the world are jumping online to make art, and specifically, musicals. The rapid turnaround of these musicals and, more importantly, their immense popularity, is leading folks in the theatre community to wonder if virtual development is the future of musical theatre making.

The most prominent musical flavoring much of the discussion is Ratatouille The Musical, the world’s first musical “created entirely over TikTok.” Based on the 2007 Disney animation about a Parisian rat who loves to cook, the musical had a very short gestation period. It began life in October 2020, when a TikTok user Emily Jacobsen posted a love ballad for Remy the Rat that went viral. In December 2020 Seaview Productions (who got a shoutout in the December newsletter for their promising new partnership with Sony Productions) negotiated with Disney to put on a virtual production of Ratatouille the Musical as a benefit for the Actors Fund.

Ratatouille the Musical aired on January 1st, 2021, and was only available to stream for 3 days, followed by a one-off encore screening a week later. The cast featured the talents of Wayne Brady, Tituss Burgess, Kevin Chamberlin, André de Shields, Andrew Barth Feldman, Adam Lambert, Priscilla Lopez, Ashley Park, and Mary Testa, under the direction of Six writer and director Lucy Moss. The music was recorded by the recently formed The Broadway Sinfonietta, an all-female identifying, majority women of color orchestral collective. The event was viewed by over 200,000 people, and raised $2million, the most successful fundraiser in Actors Fund history.

While yet to be performed on a physical stage, Ratatouille the Musical already has a huge global following, was put together in a month, and for a budget of $200,000. When you think of the years, and millions of dollars, it normally takes to mount a Broadway show, it’s no wonder theatre folks are excited.

Director Lucy Moss has stated “I hope it opens the doors and/or eyes of producers and the gatekeepers to democratize theater even further, and to show them that something of real merit can be created not in the “traditional” way.” Writing for Forbes, Lee Seymour believes virtual productions could help bolster Broadway’s return — “crowdsourced projects could provide a solution, or at least an augmentation, especially to cultivate younger fans.”

A new in-the-works musical starting to generate some heat is Bridgerton the Musical, based on the recently released original Netflix series, Bridgerton. Composed by Abigail Barlow and Emily Bear, early songs have gone viral, with “Burn For You” reaching over 4.5 million views. The hashtag #BridgertonTheMusical has attracted over 2.5million views. Receiving some attention from Netflix itself, Barlow has claimed “…the gatekeepers that be are kind of no longer in power. The people have the power, and that’s an exciting thing.”

Another new created-virtually musical, or series of musicals, garnering attention is Averno. Created by 21-year-old Morgan Smith, Averno is “is a transmedia universe — think the Marvel universe, but with musicals (and comics and novels and more) about witches.” Through collaboration with a diverse group of young artists, Averno has created “13 musicals, 4 novels, a TV Show, a podcast, a concept album, a webcomic musical, virtual reality, and more.” The universe exists across various websites and social media platforms including TikTok, Instagram, Spotify, and YouTube. Broadway Records, one of theatre’s leading record labels, recently released three Averno musicals as concept albums — “Over and Out,” “Willow,” and “Bittersummer.”
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What do you think? Will Ratatouille be served up on Broadway? Could Bridgerton The Musical sit alongside Bridgerton on Netflix? Will the Averno universe come to rival that of Marvel?

This week on the podcast host Luisa Lyons chats with Eliza Jackson, an Australian producer based in the UK whom The Stage recently listed as one of the Top 100 Theatre Makers of 2020. 
Topics including making the switch from acting to producing, the joys and challenges of producing virtual theatre content during the pandemic, paying artists during lockdown, the future of streaming, what it means to make theatre during this time, and Lambert Jackson Productions streams of The Last Five Years, Songs for A New World, [title of show], and the upcoming I Love You, You're Perfect, Now Change. 

Australian born Eliza Jackson trained in Musical Theatre at the prestigious NIDA (National Institute of Dramatic Art) in Sydney. She moved to London in 2012 and since then, has worked in the theatre industry both on and off stage. 

In 2018, Lambert Jackson Productions was born and their first project was to take Eliza’s one-woman show to the Edinburgh Fringe Festival. The show, The Voice Behind the Stars received 5-star reviews across the board and was then toured around Australia with much success. On her return, she took on the role of Creative Director of Lambert Jackson full time.

I Love You, You're Perfect, Now Change will stream at select times between January 28-30, 2021. More info and tickets available from the London Coliseum. 

Available wherever you listen to podcasts! 

If you like what you hear, subscribe and leave a review! 

So, 2020, huh?! It has been a tumultuous, painful, bizarre year with so much loss, grief, and uncertainty. But on the other side of darkness, there is light. And if one good thing has come out of the pandemic, it’s that filmed live theatre content is more available than ever. From Andrew Lloyd Webber’s The Shows Must Go Online, The National Theatre and Met Opera’s weekly streams, Disney+ releasing Hamilton, to smaller independent theatres like Southwark Playhouse, Wise Children, or Westcoast Black Theatre Troupe releasing previously filmed content, and creating new musicals to stream.

Bonus Play​​

What did you see this year that you loved?
Let me know in the comments, or on Twitter and Facebook!

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Episode 7 of the Filmed Live Musicals podcast is out! 

This week I chat with the Executive Director of the Westcoast Black Theatre Troupe (WBTT), Julie Leach. Based in Sarasota, Florida, WBTT is a non-profit theatre founded in 1999 by Nate Jacobs. The company’s mission is “to produce professional theatre that promotes and celebrates the African American experience, that attracts diverse audiences, supports and develops African American artists, and builds the self-esteem of African American youth.”

We look at how WBTT were able to pivot during the COVID-19 shutdown, connection with community, the business end of putting theatre online, and Vinnette Carroll's Your Arms Too Short to Box With God.

Learn more WBTT's filmed live productions Your Arms Too Short to Box With God and Rockin' Down Fairytale Lane in the Filmed Live Musicals database, and check out WBTT's current productions at www.westcoastblacktheatre.org. 

Available now on all leading podcast platforms! 

Want to hear more from industry professionals about filmed live musicals? Make sure to subscribe to the Filmed Live Musicals podcast, and if you like what you hear, rate and review us! 

Filmed Live Musicals is a labor of love. All the thanks to patrons Josh Brandon, Mercedes Esteban, Jesse Rabinowitz and Brenda Goodman, Al Monaco, David and Katherine Rabinowitz, and Bec Twist for your support! 

If you're able to support the site financially, consider becoming a Patron! Pledges start at $2 a month, and no matter what level you can pledge, you'll get early access to content, including the podcast. Sign up today! 

It is no secret that as a result of the pandemic, theatre companies have lost their most significant stream of revenue: ticket sales. As I wrote a couple of weeks ago, while some theatres are streaming shows, others are responding to the COVID-19 shutdown by branching out into new areas, creating new streaming platforms, and selling virtual tickets to online content. 

In May, TodayTix temporarily rebranded as TomorrowTix and launched a platform allowing theatre companies across the United States to sell tickets to online shows. As with the previous incarnation of the site, content is available by city, though it seems most virtual content is available across all cities. 

At the time of writing, offerings include comedy and improv, concerts, drag shows, and two musical-esque productions, The Keep Going Song and A Killer Party. 

The Keep Going Song is presented by the Actors Theatre of Louisville (who back in 1973 produced In Fashion). Described as “an intimate evening of storytelling through song,” the piece was written and performed by indie-folk duo Abigail and Shaun Bengson during lockdown. Ben Brantley gave The Keep Going Song the New York Times Critic’s Pick stamp of approval, and the music is truly extraordinary. You have until October 8 to stream it. Virtual tickets are available via TodayTix and directly from Actors Theatre of Louisville, on a sliding scale between $15 - $100 (not including fees). 

A Killer Party is an episodic murder mystery musical directed by Broadway musical director Marc Bruni. The cast includes a slew of Broadway stars including Carolee Carmello, Jackie Burns, Jeremy Jordan, Laura Osnes, and Alex Newell. The music was composed by Jason Howland (who, among many other credits, did the arrangements on Jekyll and Hyde), with lyrics by Nathan Tysen, and book by Kait Karrigan. Rachel Axler, who worked on Veep, The Daily Show, and Parks and Recreation, is also credited as a writer. Composed and performed entirely during quarantine, A Killer Party is a laugh out loud, silly, and joyful spoof. It’s available via TodayTix and directly from A Killer Party Musical for $12.99, which provides access to all 9 episodes.
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In late July, Playbill launched Social Selects, theatre-themed interactive online events that include tours of Broadway theatres and theatre sites in NYC, storytelling events, cooking, and wine-pairing. Events range in price from $9.99 - $21.99. Tickets for the HamilTour, which will visit Hamilton-related locations around NYC on October 7 and 14, are currently on sale. 
And just a couple of weeks ago, Goldstar launched Stellar, a new monetized streaming platform. The site currently has nearly 50 productions, including concerts, comedy, and from-artist-living-room events.

Coming up we'll be taking a look at another innovation, drive-in theatre! 

What are you watching? Let me know in the comments, or on Twitter or Facebook! 

In case you somehow missed it, one of the most vaunted musicals in history, Hamilton was released on Disney+ on July 3rd. While Hamilton is not the first Broadway musical to be streamed online, its prominence and undeniable success may finally be shifting some very deep seated views that filmed live theatre can’t adequately capture the live experience, and that filmed live theatre should exist at all. In an unprecedented move, it was announced earlier in the month the yet-to-officially-open Broadway musical Diana, would be filmed (without an audience) and broadcast on Netflix. 

Many people know by now that Disney acquired the distribution rights for the filmed live production of Hamilton for approximately $75million (the final figure was adjusted due to the pandemic and the decision to release it online rather in cinemas). Much like Hamilton and Burr, you gotta be in the room where it happens to get the figures on how much Hamilton is bringing Disney financially, but it seems to bode well. As reported in Variety, early data suggests the musical had a significantly larger audience than any other single program across Netflix, Prime Video, Hulu, Apple TV+, and Disney+ in July. 
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Much like Hamilton and Burr, you gotta be in the room where it happens to get the actual figures on how much Hamilton is bringing Disney financially. At the end of June, just prior to the release of Hamilton, Disney+ reported it had 54.5 million subscribers (for comparison, Netflix currently has about 190 million subscribers worldwide). According to Variety, in comparison to the four weeks prior, the weekend of Hamilton’s digital release saw a 74% increase in Disney+ app downloads within the United States, and 46% worldwide. At the beginning the August, Disney+ reported it had 60.5 million subscribers. These numbers do not include subscribers who purchased subscriptions through packages or where Disney+ is included in existing apps.

Going forward, there are still many questions for producers for consider: when to release filmed live productions, who gets access (due to copyright or union agreements, films may not be able to be released worldwide), if viewers should pay to access streams and for how much, how to fairly compensate cast/crew/creatives, and what platforms to use.

With all that in mind, here’s a look at existing models for distributing filmed live musicals online: 

Free 
Online video platforms like YouTube and Vimeo have made it easier than ever to just upload existing footage. During the pandemic big names like Andrew Lloyd Webber and the National Theatre have released content for free online. Companies such as Southwark Playhouse, Chichester Festival Theatre, Wise Children, and Wales Millennium Centre, and independent artists like Dave Malloy and Angela Sclafani, have also made filmed live musicals freely available. 

The quality of free recordings varies greatly. From productions staged in black box theatres filmed with a camera on a tripod located behind the audience like Beardo, to slick captures like the arena production of Jesus Christ Superstar. Sometimes recordings were made for archival purposes, like Only the Brave and Wasted. Archival recordings vary in quality, but thanks to digital cameras, recent captures make for decent viewing. 

The length of time free streams are available can vary. Some are placed online indefinitely, such as The Room and Passion Project. Others, like titles from the National Theatre at Home, The Shows Must Go On, or Wise Children, have a limited window ranging from 48 hours to several weeks. 

Unless the producers/creatives uploading material for free are covering the cost of paying artists for use of their work on screen, cast, crew, and creatives are less likely receive any income from free streams. The exception to this is new platform SceneSaver, which encourages viewers to donate the cost of an average ticket, and shares 95% of donations directly with artists (for more info, take a listen to episode 2 of the Filmed Live Musicals podcast for an interview with SceneSaver founder Caroline Friedman).

Especially during the pandemic, viewers are often encouraged to make a donation to the theatre company, or to a selected charity or organization.

Paid
There are several kinds of paid options: one-off payments, subscriptions, and passes. 

One-off payment 
Viewers make a one-time payment or purchase a “ticket” to gain access to the stream. The stream is often played at a scheduled time, and then is available on demand for a limited time. These films usually have a set period of availability, and are sometimes are also limited to a specific number of streams. Occasionally, as in the case of 21 Chump Street: The Musical, the payment provides indefinite access. Companies using this model include Westcoast Black Theatre Troupe, Broadway on Demand, and Streaming Musicals. 
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Like free streams, the quality of content can vary. Particularly during the pandemic, when companies and artists are desperate for cashflow, archival footage not intended for mass consumption has been distributed. 

The pricing for one-off payments ranges, though is usually between $10 - $30 USD. Although it is not common, instead of a set price, viewers are sometimes given the option to make a donation, or pay-as-you-like. 

Subscriptions
Following the Netflix model, subscriptions provide access to a catalog of shows. In the subscription model, like Netflix, titles are usually available for longer periods of time, and can appear and disappear. Most subscriptions run for a year, though some also provide month-to-month payments at a slightly higher rate. BroadwayHD, Stage, PBS, and Disney+ all currently use the subscription model.

Passes
Passes work in a similar way to a subscription, but often for a limited time. Prima, a theater in Lancaster, Pennsylvania, have created passes as varying price points for viewers to gain access to online content. As have SheNYC Arts, a female led organization running online festivals based in New York, Los Angeles, and Atlanta over the summer. 

Combinations
Some companies use a combination of models. Broadway on Demand offers some content for free, some content for a one-off fee, and also plans to offer a subscription in the future. Streaming Musicals hosts free premiere nights, and titles are available to rent or buy through one-off payments. Digital Theatre offers an all-access yearly subscription, or the option to rent individual titles. While BroadwayHD offers monthly and yearly subscription models, throughout the pandemic they have been hosting free watch parties in partnership with Playbill, Roundabout, and the Rodgers and Hammerstein Organization.

As live theatre online becomes more and more mainstream, and as we learn more about the number of views and profits from ticket sales, it will be interesting to see which models are adopted.