Ninth Annual Eric H. Weinberger Award for Emerging Librettists

Website

Deadline: November 30, 2026

APPLICATION FORM

All submissions must be sent through the online application form. Only one submission per playwright/librettists will be accepted.

The Eric H. Weinberger Award for Emerging Librettists is a juried cash and production grant given annually to support the early work and career of a deserving musical theatre librettist. It commemorates the life and work of playwright/librettist Eric H. Weinberger (1950-2017), who was a Drama Desk Award nominee for Outstanding Book of a Musical (Wanda’s World), and the playwright/librettist of Class Mothers ’68, which earned Priscilla a Drama Desk Award.

The winner will receive $2,000 to help with cost-of-living expenses. The winning musical will receive development assistance in the 2027 New Works Development Program of Amas Musical Theatre, culminating in an Amas Lab production with New York theatre professionals. Amas was the development home for several of Mr. Weinberger’s musicals, including the World Premiere of Wanda’s World and the New York Premiere of Tea for Three.

The winner of the Award is announced in Spring 2027.

Amas Musical Theatre will not ask for any fees for entry or for any fiduciary involvement

from the playwright/librettists at any point of the process.

Submission Requirements

The Musical must:

• Be a full-length show (at least 80 minutes)

• Have no more than eight actors (actors may play multiple roles; if so, please include a suggested breakdown of role distribution)

• Be complete and ready for readings, workshops and/or productions

• Have a demo that is an accurate representation of the music and style of the show (at least five songs)

• Have full underlying rights clearance of any pre-existing material used in the script (music, source material, etc.)

• Not have had a full production or be published in any way, even if with a different name.

What to Submit

All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of

1. Biography and resumes of the creative team, including writer, composer, lyricist (if applicable)

2. History of the musical'ss development, and any previous titles it has gone through (if applicable, maximum one page)

3. Brief synopsis (maximum 150 words)

4. Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)

5. Proof of rights (if applicable)

6. Demo and track listings (Demo selections to be posted as a Dropbox or Google Drive link)

7. PDF document of the full-script and sheet music, if available (no writers named)

​​

Guidelines for Materials

All submissions must adhere to the following or your application will be disqualified before reaching our selection committee.

Proof of Rights

If the musical contains any copyrighted material, please submit a signed letter from the authors and/or underlying rights representative stating that underlying rights have been secured.

Full Script

The full script must include:

1. Title page (which should only have the title on it and absolutely no other information)

2. Character breakdown (maximum one page)

3. The complete script with page numbers

For the anonymity of your submission, the full script and sheet music cannot include any information on playwright/ librettist or contractually attached people, previous casts, or any agents. All submissions will go through a blind evaluation process, any personal information you provide will only be available to Amas Musical Theatre staff.

Demo Tracks

The recording should be a significant representation of the songs in the show that accurately highlights the style and character of the score and lyrics.

• Demo tracks should:

1. Include at least one song from the first 25 pages

2. Have at least five recordings available – they do not need to be professional or studio quality, but they must be clear enough to hear lyrics, melody, and accompaniment

3. Have singers of appropriate vocal types for their respective roles

4. Be full songs only, no medleys of spliced songs

For the anonymity of your submission, tracks cannot include any personal identifiers for playwright/librettist(s), the performers recorded, or contractually attached people.

The Selection Process

Scripts will be read and evaluated through a blind submission process by Amas Musical Theatre’s literary team. A group of finalist plays will be read and evaluated by a selection committee, comprised of distinguished artists and playwrights, using a blind evaluation process. Committee members will not be given any additional information beyond the title of the show, the script, and the demo tracks.

Any personal information you provide in the application is seen by the Amas Musical Theatre staff only, not the selection committee. 

Our process is based on the quality of the work submitted.

Round 1 (September-December)

1. Our literary team reads the first 25 pages of the book and listens to the demo for any track related to these pages.

2. The team fills out evaluations for each show, which determine the submissions that continue to Round 2.

Round 2 (January-April)

1. The selection committee reads the scripts in full and listens to all demo tracks submitted.

2. Committee members write their evaluations to determine which one is best suited for the Award.

3. The winner is announced in the Spring of 2027.

4. The application’s primary contact is notified and a development schedule is created with the winner.

We will not be able to provide feedback regarding why a particular piece was or was not selected.

The Winner will:

• Receive $2,000 to help pay for cost-of-living expenses.

• Receive development assistance in the 2027 New Works Development Program of Amas Musical Theatre.

• Have the selected show rehearsed and performed by New York theatre professionals in an Amas Lab production.

• Be present in New York City for the development process.

The Kleban Prize for Musical Theater 2026

Website

Deadline: May 15, 2026 at 11:59pm EDT

LIBRETTIST SUBMISSION FORM

LYRICIST SUBMISSION FORM

Edward Kleban, the lyricist of A Chorus Line and other extraordinary works, created the Kleban Prize in his Will, which is given annually to writers of extraordinary promise – to a librettist and a lyricist, respectively. Kleban designed the prize based on his personal experience as a promising writer. He was acutely aware that, though composers and musicians may often work within the theater, lyricists and librettists generally have to work outside the theater in order to support their writing. He wanted a prize of sufficient size to allow promising writers the time to simply write; his creation of the prize flowed from his desire to help other worthy artists like himself.

The prize is administered by New Dramatists on behalf of the The Kleban Foundation, Inc. Board of Directors. To ensure a robust and equitable adjudication, applications (including work samples) are submitted and reviewed blind by an independent panel of musical theatre artists and industry leaders. The Kleban Foundation Board sets the amount of the Prize annually. In recent years, a sum of $100,000 in each category has been paid in two annual installments to Prize recipients.

Eligibility

Kleban’s instructions, as interpreted by the Board, specify that applicants must meet either of the following criteria: 1) The applicant must previously have received a production of one of their works on a stage or in a workshop performance; or 2) The applicant must be or have been a member or an associate of a professional musical workshop or theater group, i.e., ASCAP, BMI Theater Workshop or the Dramatists Guild Fellows Program.Any individual whose work has been performed on the Broadway stage for a cumulative period of two years prior to the opening of the application window is not eligible. In the case of multiple Broadway productions, the sum of the lengths of the runs must not exceed two years.

If the material is co-written (written by more than one lyricist or more than one librettist) all writers must apply as a team. (This does not include the composer unless s/he has also contributed lyrics or text.) Each applicant must be eligible in their own right to apply.

Applicants may apply in both categories, but must submit a separate application for each category and may win in only one such category.

Applicants may only apply once per category per year.

Applicants may win in only one category.


Application Materials

Submissions are coded and reviewed blind. The name(s) of the writer(s) must NOT appear on any submission materials, including in the file names or file author information. Do NOT include hyperlinks in your files. Failure to meet this requirement may render the applicant ineligible. Only work from musical theater will be considered. Materials must be in English.

LYRICIST CATEGORY

Submissions must include lyrics for a minimum of five and a maximum of eight songs.
The lyrics may be from one or various shows.
Audio files/recordings of each song are strongly encouraged but are not necessary. Acceptable formats are mp3, ogg, and wav.

LIBRETTIST CATEGORY

Submissions may consist of a full-length musical book, or one act from two separate shows.
Lyrics should be included in the libretto even if they were written by someone other than the librettist.
Submission files must be in either word or PDF formats. Audio files are not accepted in the librettist category.

Application Step-by-Step

You will no longer be required to have an account on the New Dramatists website to complete a 2026 application.

It is in your best interest to prepare your materials for upload in advance, and to complete the application in one session. Your progress will be saved automatically if you continue in the same browser, but there is not an option to save.

1. Click the appropriate button below to begin your application. If you are applying in two categories, simply return to this page.

2. You will be asked to confirm you are eligible to apply. In the text field you must provide details substantiating your eligibility. Optionally, upload a resumé.

3. Fill in your full name, address, phone number and email address. If you have a co-lyricist or co-librettist, enter their information here.

4. For a Lyricist application, upload a text document for each song. You will also have the option to upload audio files for each song. For a Librettist application, upload your Musical text file. If you are submitting two acts from separate musicals they must be combined into one file. DO NOT INCLUDE YOUR NAME ON ANY OF THESE SUBMISSION MATERIALS.

5. Check the box that you have read and agree to our Privacy Policy, and click “Submit Your Application” to complete the process. You will receive a confirmation that your application has been received.

Eight Annual Eric Weinberger Award for Emerging Librettists

Website

Deadline: November 30, 2025

SUBMISSION FORM

Only one submission per playwright/librettists will be accepted. The winner of the Award is announced in Spring 2026.

Amas Musical Theatre will not ask for any fees for entry or for any fiduciary involvement

from the playwright/librettists at any point of the process.

Submission Requirements:

The musical must:

• Be a full-length show (at least 80 minutes)
• Have no more than eight actors (actors may play multiple roles, if so, please include a suggested breakdown of role distribution)
• Be complete and ready for readings, workshops and/or productions
• Have a demo that is an accurate representation of the music and style of the show (at least five songs)
• Have full underlying rights clearance of any pre-existing material used in the script (music, source material, etc.)
• Not have had a full production or be published in any way, even if with a different name.

​​
What to submit

All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of PART_TITLE, i.e.: for Tea for Three; BIO_TEA-FOR-THREE, SYNOPSIS_TEA-FOR-THREE, etc.

1. Biography and resumes of the creative team like writer, composer, lyricist (if applicable)
2. History of the submission’s development, and any previous titles it has gone through (if applicable, maximum one page)
3. Brief synopsis (maximum 150 words)
4. Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)
5. Proof of rights (if applicable)
6. Demo and track listings (Demo selections to be posted as a Dropbox or Google Drive link)
7. PDF document of the full-script and sheet music, if available (no writers named)

Guidelines for Materials

All submissions must adhere to the following or your application will be disqualified before reaching our selection committee.

PROOF OF RIGHTS

If the musical contains any copyrighted material, please submit a signed letter from the authors and/or underlying rights representative stating that underlying rights have been secured.

FULL SCRIPT

The full script must include:

1. Title page (which should only have the title on it and absolutely no other information)
2. Character breakdown (maximum one page)
3. The complete script with page numbers

​
For the anonymity of your submission, the full script and sheet music cannot include any information on playwright/ librettist or contractually attached people, previous casts, or any agents. All submissions will go through a blind evaluation process, any personal information you provide will only be available to Amas Musical Theatre staff.


Demo Tracks

• The recording should be a significant representation of the songs in the show that accurately highlights the style and character of the score and lyrics.
• Demo tracks should:

1. Include at least one song from the first 25 pages
2. Have at least five recordings available – they do not need to be professional or studio quality, but they must be clear enough to hear lyrics, melody, and accompaniment
3. Have singers of appropriate vocal types for their respective roles
4. Be full songs only, no medleys of spliced songs


For the anonymity of your submission, tracks cannot include any personal identifiers for playwright/librettist(s), the performers recorded, or contractually attached people.


The Selection Process

Scripts will be read and evaluated through a blind submission process by Amas Musical Theatre’s literary team. A group of finalist plays will be read and evaluated by a selection committee, comprised of distinguished artists and playwrights, using a blind evaluation process. Committee members will not be given any additional information beyond the title of the show, the script, and the demo tracks.


Any personal information you provide in the application is seen by the Amas Musical Theatre staff only, not the selection committee.

Our process is based on the quality of the work submitted.


Round 1 (September-December)

1. Our literary team reads the first 25 pages of the book and listens to the demo for any track related to these pages.
2. The team fills out evaluations for each show, which determine the submissions that continue to Round 2.
3. If selected as a finalist, the show’s application primary contact is notified via email.



Round 2 (January-March)

1. The selection committee reads the scripts in full and listens to all demo tracks submitted.
2. Committee members write their evaluations to determine which one is best suited for the Award.
3. The winner is announced in the Spring of 2025.
4. The application’s primary contact is notified and a development schedule is created with the winner.



We will not be able to provide feedback regarding why a particular piece was or was not selected.



The Winner

• Will receive $2,000 to help pay for cost-of-living expenses.
• Will receive development assistance in the 2025 New Works Development Program of Amas Musical Theatre.
• Will have the selected show rehearsed and performed by New York theatre professionals in an Amas Lab production.
• Must be present in New York City for the development process.


• Must give the right of first refusal for a world premiere of the selected show that will expire 90 days after Amas Musical Theatre presents the Lab production.

The Kleban Prize for Musical Theatre 2026

Website

Deadline: May 15, 2025 at 5pm EDT.

Edward Kleban, the lyricist of A Chorus Line and other extraordinary works, created the Kleban Prize in his Will, which is given annually to writers of extraordinary promise – to a librettist and a lyricist, respectively. Kleban designed the prize based on his personal experience as a promising writer. He was acutely aware that, though composers and musicians may often work within the theater, lyricists and librettists generally have to work outside the theater in order to support their writing. He wanted a prize of sufficient size to allow promising writers the time to simply write; his creation of the prize flowed from his desire to help other worthy artists like himself.

The prize is administered by New Dramatists on behalf of the The Kleban Foundation, Inc. Board of Directors. To ensure a robust and equitable adjudication, applications (including work samples) are submitted and reviewed blind by an independent panel of musical theatre artists and industry leaders. The Kleban Foundation Board sets the amount of the Prize annually. In recent years, a sum of $100,000 in each category has been paid in two annual installments to Prize recipients.

Eligibility

Kleban’s instructions, as interpreted by the Board, specify that applicants must meet either of the following criteria: 1) The applicant must previously have received a production of one of their works on a stage or in a workshop performance; or 2) The applicant must be or have been a member or an associate of a professional musical workshop or theater group, i.e., ASCAP, BMI Theater Workshop or the Dramatists Guild Fellows Program.Any individual whose work has been performed on the Broadway stage for a cumulative period of two years prior to the opening of the application window is not eligible. In the case of multiple Broadway productions, the sum of the lengths of the runs must not exceed two years.

If the material is co-written (written by more than one lyricist or more than one librettist) all writers must apply as a team. (This does not include the composer unless s/he has also contributed lyrics or text.) Each applicant must be eligible in their own right to apply.

Applicants may apply in both categories, but must submit a separate application for each category and may win in only one such category.

Applicants may only apply once per category per year.

Applicants may win in only one category.


Application Materials

Submissions are coded and reviewed blind. The name(s) of the writer(s) must NOT appear on any submission materials, including in the file names or file author information. Do NOT include hyperlinks in your files. Failure to meet this requirement may render the applicant ineligible. Only work from musical theater will be considered. Materials must be in English.

LYRICIST CATEGORY

Submissions must include lyrics for a minimum of five and a maximum of eight songs.
The lyrics may be from one or various shows.
Audio files/recordings of each song are strongly encouraged but are not necessary. Acceptable formats are mp3, ogg, and wav.

LIBRETTIST CATEGORY

Submissions may consist of a full-length musical book, or one act from two separate shows.
Lyrics should be included in the libretto even if they were written by someone other than the librettist.
Submission files must be in either word or PDF formats. Audio files are not accepted in the librettist category.

Application Step-by-Step

You will no longer be required to have an account on the New Dramatists website to complete a 2026 application.

It is in your best interest to prepare your materials (script document, resume document) for upload in advance, and to complete the application in one session. Your progress will be saved automatically if you continue in the same browser, but there is not an option to save.

1. Click the appropriate button below to begin your application. If you are applying in two categories, simply return to this page.

2. You will be asked to confirm you are eligible to apply. In the text field you must provide details substantiating your eligibility. Optionally, upload a resumé.

3. Fill in your full name, address, phone number and email address. If you have a co-lyricist or co-librettist, enter their information here.

4. For a Lyricist application, upload a text document for each song. You will also have the option to upload audio files for each song. For a Librettist application, upload your Musical text file. If you are submitting two acts from separate musicals they must be combined into one file. DO NOT INCLUDE YOUR NAME ON ANY OF THESE SUBMISSION MATERIALS.

5. Check the box that you have read and agree to our Privacy Policy, and click “Submit Your Application” to complete the process. You will receive a confirmation that your application has been received.

Lyricist Application

Librettist Application

Seventh Annual Eric H. Weinberger Award for Emerging Librettists

Website

Deadline: December 2, 2024

Submission Form

The Eric H. Weinberger Award for Emerging Librettists is a juried cash and production grant given annually to support the early work and career of a deserving musical theatre librettist. It commemorates the life and work of playwright/librettist Eric H.

Weinberger (1950-2017), who was a Drama Desk Award nominee for Best Book of a Musical (Wanda’s World), and the playwright/librettist of Class Mothers ’68, which earned Pricilla Lopez a Drama Desk Award nomination.

The winner will receive $2,000 to help with cost-of-living expenses. The winning musical will receive development assistance in the 2025 New Works Development Program of Amas Musical Theatre, culminating in an Amas Lab production with New

York theatre professionals. Amas, which is administering the Award, was the development home for several of Mr. Weinberger’s musicals, and which produced the World Premiere of Wanda’s World and the New York Premiere of Tea for Three.

With the many setbacks in the theatre industry over the past few years, we are grateful to be afforded this opportunity to continue making theatre and creating an impact in our community. We are excited to begin work with our 2024 winners Daniel and James Cullen on their piece Dubbo Championship Wrestling and welcome a new wave of inspiring voices to our musical theatre family.

Submissions open September 12, 2024 and will close December 2, 2024. All submissions must be sent through an online application that can be found HERE.

Only one submission per playwright/librettists will be accepted. The winner of the Award is announced in Spring 2025.

 

Amas Musical Theatre will not ask for any fees for entry or for any fiduciary involvement

from the playwright/librettists at any point of the process.

APPLY HERE

Submission Requirements:

The musical must:

• Be a full-length show (at least 80 minutes)

• Have no more than eight actors (actors may play multiple roles, if so, please include a suggested breakdown of role distribution)

• Be complete and ready for readings, workshops and/or productions

• Have a demo that is an accurate representation of the music and style of the show (at least five songs)

• Have full underlying rights clearance of any pre-existing material used in the script (music, source material, etc.)

• Not have had a full production or be published in any way, even if with a different name.

​​

What to submit

All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of PART_TITLE, i.e.: for Tea for Three; BIO_TEA-FOR-THREE, SYNOPSIS_TEA-FOR-THREE, etc.

1. Biography and resumes of the creative team like writer, composer, lyricist (if applicable)

2. History of the submission’s development, and any previous titles it has gone through (if applicable, maximum one page)

3. Brief synopsis (maximum 150 words)

4. Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)

5. Proof of rights (if applicable)

6. Demo and track listings (Demo selections to be posted as a Dropbox or Google Drive link)

7. PDF document of the full-script and sheet music, if available (no writers named)

BMI Musical Theatre Bookwriting Basics 2024

Website

Deadline: June 1, 2024

SUBMISSION FORM

This nine-month course explores the fundamentals of writing book for the musical theatre.

Drama Desk Award winning bookwriter Adam Mathias (he/him) unlocks the toolkit for musical theatre librettists. Through lecture, discussion, and assignments students learn how to apply the fundamentals of playwriting to the craft of creating musicals. As a class, writers deep-dive into the DNA of the musical theatre canon — from the Golden Age through today — dissecting what works and why and then applying it to their own work.

Applicants should have a book-musical project in mind to develop over the course of the year; this musical could be anywhere from an early concept to an early draft.

The course runs September through May in New York City, Covid restrictions permitting. Prospective members should live in the city or be able to commute weekly.
Librettists Workshop

After completing the Bookwriting Basics program, writers may apply to join the established Librettists Workshop group. Not all writers who apply will be invited to join.

Nancy Golladay, veteran Broadway literary manager and dramaturg, moderates a writers’ roundtable focused on developing the skills unique to musical theatre bookwriters. Members read and critique each other’s work as their material evolves from one-page synopses to fully scripted scenes — including occasional cold readings of an entire show. In a yearly collaborative project, the Librettists Workshop engages with the First Year Songwriting Class. Librettist Workshop members are also eligible to participate in Collaborator Connections events with members of the Songwriters Workshops.
Application

Applicants must submit two writing samples, at least one of which must include comedic content.

Either or both samples could be:a 10-page or longer excerpt from a script or other genre
a complete one-act
a full-length script

Any of these may be in-progress, produced and/or published material.

Scripts from genres other than playscripts or musical theatre scripts are also acceptable; however, theatrical comedy scenes are preferred to stand-up or sketch material.

In addition, writers must include a bio or resume.
Schedule

Musical Theatre Bookwriting Basics — Tuesdays 5:30 - 7:30 p.m.

Librettists Workshop — Mondays 6:15 - 8:15 p.m.

All sessions take place at the BMI Offices in lower Manhattan from September through May. All prospective members must arrange to live in the greater New York City area or be able to commute weekly September through May. Please do not apply if this is not possible for you.

Applications must be submitted by June 1st.

Fees

There is no fee to apply for or participate in the BMI Lehman Engel Musical Theatre Workshop.

Please note that Workshop participants will be charged $43.55 for a 7 WTC identification badge.
Apply

The Workshop application process is now open!

Campbell Opera Librettist Prize 2024

Website

Deadline:  April 26, 2024, 11:59 p.m. EDT

The Campbell Opera Librettist Prize is an annual award created and funded by Mark Campbell and offered as part of OPERA America’s continuing effort to support individual opera creators.

The Campbell Opera Librettist Prize is awarded to a librettist who has exceptional talent for writing opera librettos, with a growing body of work that is already making a contribution to the American opera literature; and who demonstrates experience writing for opera/music theater and a commitment to making opera a central part of their artistic work and career.

Created and funded by librettist/lyricist Mark Campbell, the Prize is the first award in the history of American opera that specifically recognizes the opera librettist.

The Campbell Opera Librettist Prize is supported by Mark Campbell.
Prize Details

The Campbell Opera Librettist Prize includes a $7,000 direct cash prize. The prize winner will be chosen from applicants by a panel of independent experts.

Eligibility: Librettists who have U.S. citizenship, permanent residence, or DACA status may apply. See the Guidelines below for additional eligibility requirements.

Important Dates & Deadlines
Intent to apply deadline:
(required for access to full application) April 26, 2024, 11:59 p.m. ET
Application deadline: May 24, 2024, 11:59 p.m. ET
Applications adjudicated: June 2024
Grantees notified: July 2024


How to Apply

Review the prize guidelines and application worksheets to apply. All applications must be submitted through OPERA America’s Grants Portal.

More information on website.

Sixth Annual Eric H. Weinberger Award for Emerging Librettists 2023

Website

Deadline: December 1, 2023

SUBMISSION FORM

The Eric H. Weinberger Award for Emerging Librettists is a juried cash and production grant given annually to support the early work and career of a deserving musical theatre librettist. It commemorates the life and work of playwright/librettist Eric H. Weinberger (1950-2017), who was a Drama Desk Award nominee for Best Book of a Musical (Wanda’s World), and the playwright/librettist of Class Mothers ’68, which earned Pricilla Lopez a Drama Desk Award nomination.  

The winner will receive $2,000 to help with cost-of-living expenses. The winning musical will receive development assistance in the 2023 New Works Development Program of Amas Musical Theatre, culminating in an Amas Lab production with New York theatre professionals. Amas, which is administering the award, was the development home for several of Mr. Weinberger’s musicals, and which produced the World Premiere of Wanda’s World and the New York Premiere of Tea for Three. 

We are grateful to be afforded this opportunity to continue making theatre and creating an impact in our community. We are excited to begin work with our 2023 winners Annie Dillon and Samantha Caps on their piece Show Me Eternity and welcome a new wave of inspiring voices to our musical theatre family.

Submissions open Monday September 18, 2023 and will close on Friday, December 1, 2023. All submissions must be sent through an online application that can be found HERE. 

Only one submission per playwright/librettist will be accepted. The winner of the award will be announced in spring 2024.

Amas Musical Theatre will not ask for any fees for entry or for any fiduciary involvement

from the playwright/librettists at any point of the process.

Submission Requirements:

The musical must:

• Be a full-length show (at least 80 minutes)
• Have no more than seven actors  (actors may play multiple roles, if so please include a suggested breakdown of role distribution)
• Be complete and ready for readings, workshops and/or productions
• Have a demo that is an accurate representation of the music and style of the show (at least five songs)
• Have full underlying rights clearance of any pre-existing material used in the script (music, source material, etc.)
• Not have had a full production or be published in any way, even if with a different name.

What to submit

• All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of PART_TITLE, i.e.: for Tea for Three; BIO_TEA-FOR-THREE, SYNOPSIS_TEA-FOR-THREE, etc.
• Biography and resumes of all contractually attached people such as composer, director, producer to the project
• History of the submission’s development, and any previous titles it has gone through (if applicable, maximum one page)
• Brief synopsis (maximum 150 words)
• Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)
• Proof of rights (if applicable)
• Demo and track listings (Demo selections to be posted as a Dropbox or Google Drive link)
• PDF document of the full-script and sheet music, if available (no writers named)

Guidelines for Materials

All submissions must adhere to the following or your application will be disqualified before reaching our selection committee.

PROOF OF RIGHTS

If the musical contains any copyrighted material, please submit a signed letter from the authors and/or underlying rights representative stating that underlying rights have been secured.

FULL SCRIPT

The full script must include:

• Title page (which should only have the title on it and absolutely no other information)
• Character breakdown (maximum one page)
• The complete script with page numbers
• ​​For the anonymity of your submission, the full script and sheet music cannot include any information on playwright/ librettist or contractually attached people, previous casts, or any agents. All submissions will go through a blind evaluation process, any personal information you provide will only be available to Amas Musical Theatre staff.

Demo Tracks

The recording should be a significant representation of the songs in the show that accurately highlights the style and character of the score and lyrics.

Demo tracks should:

• Include at least one song from the first 25 pages
• Have at least five recordings available – they do not need to be professional or studio quality but they must be clear enough to hear lyrics, melody, and accompaniment
• Have singers of appropriate vocal types for their respective roles
• Be full songs only, no medleys of spliced songs
• For the anonymity of your submission, tracks cannot include any personal identifiers for playwright/librettist(s), the performers recorded, or contractually attached people.

The Selection Process

Scripts will be read and evaluated through a blind submission process by Amas Musical Theatre’s literary team. A group of finalist plays will be read and evaluated by a selection committee, comprised of distinguished artists and playwrights, using a blind evaluation process. Committee members will not be given any additional information beyond the title of the show, the script and the demo tracks.

Any personal information you provide in the application is seen by the Amas Musical Theatre staff only, not the selection committee. Our process is based on the quality of the work submitted.

Round 1 (September-December)

Our literary team reads the first 25 pages of the book and listens to the demo for any track related to these pages.

The team fills out evaluations for each show, which determine the submissions that continue to Round 2.

If selected as a finalist, the show’s application primary contact is notified via email.​​

Round 2 (January-March)

The selection committee reads the scripts in full and listens to all demo tracks submitted.

Committee members discuss the finalists to determine which one is best suited for the award.

The winner will be announced in the spring of 2024

The application’s primary contact is notified and a development schedule is created with the winner. 

 We will not be able to provide feedback regarding why a particular piece was or was not selected.

The Winner

Will receive $2,000 to help pay for cost-of-living expenses.

Will receive development assistance in the 2024 New Works Development Program of Amas Musical Theatre.

Will have the selected show rehearsed and performed by New York theatre professionals in an Amas Lab production.

Must be present in New York City for the development process.

Must give the right of first refusal for a world premiere of the selected show that will expire 90 days after Amas Musical Theatre presents the Lab production.

BMI Musical Theatre Bookwriting Basics Workshop 2023

Website

Deadline: June 1, 2023

This nine-month course explores the fundamentals of writing book for the musical theatre.

Drama Desk Award winning bookwriter Adam Mathias (he/him) unlocks the toolkit for musical theatre librettists. Through lecture, discussion, and assignments students learn how to apply the fundamentals of playwriting to the craft of creating musicals. As a class, writers deep-dive into the DNA of the musical theatre canon — from the Golden Age through today — dissecting what works and why and then applying it to their own work.

Applicants should have a book-musical project in mind to develop over the course of the year; this musical could be anywhere from an early concept to an early draft.

The course runs September through May in New York City, Covid restrictions permitting. Prospective members should live in the city or be able to commute weekly.
Librettists Workshop

After completing the Bookwriting Basics program, writers may apply to join the established Librettists Workshop group. Not all writers who apply will be invited to join.

Nancy Golladay, veteran Broadway literary manager and dramaturg, moderates a writers’ roundtable focused on developing the skills unique to musical theatre bookwriters. Members read and critique each other’s work as their material evolves from one-page synopses to fully scripted scenes — including occasional cold readings of an entire show. In a yearly collaborative project, the Librettists Workshop engages with the First Year Songwriting Class. Librettist Workshop members are also eligible to participate in Collaborator Connections events with members of the Songwriters Workshops.
Application

Applicants must submit two writing samples, at least one of which must include comedic content.

Either or both samples could be:a 10-page or longer excerpt from a script or other genre

• a complete one-act
• a full-length script

Any of these may be in-progress, produced and/or published material.

Scripts from genres other than playscripts or musical theatre scripts are also acceptable; however, theatrical comedy scenes are preferred to stand-up or sketch material.

In addition, writers must include a bio or resume.
Schedule

Musical Theatre Bookwriting Basics — Tuesdays 5:30 - 7:30 p.m.

Librettists Workshop — Mondays 6:15 - 8:15 p.m.

All sessions take place at the BMI Offices in lower Manhattan from September through May. All prospective members must arrange to live in the greater New York City area or be able to commute weekly September through May. Please do not apply if this is not possible for you.

Applications must be submitted by June 1st.

There is no fee to apply for or participate in the BMI Lehman Engel Musical Theatre Workshop.

Please note that Workshop participants will be charged $27 for a 7 WTC identification badge.

Campbell Opera Librettist Prize 2023

Website

Deadline: March 3, 2023

The Campbell Opera Librettist Prize is awarded annually to an American librettist who demonstrates exceptional talent and experience for writing opera librettos, with the potential for making a substantial contribution to the American opera literature; and who is committed to making opera a central part of their artistic work and career.

Conceived and funded by acclaimed librettist and lyricist Mark Campbell, the Prize is the first award in the history of American opera that specifically recognizes the opera librettist.

It is designed to highlight the crucial role librettists play in the creation and success of new operatic works, and inspire a new generation of writers to dedicate their pens to opera and music theater

The Campbell Opera Librettist Prize is supported by Mark Campbell.
Prize Details

The Campbell Opera Librettist Prize bestows a $7,000 award each year to a librettist chosen from applicants by a panel of independent experts.

Eligibility: Librettists who are citizens or permanent residents of the United States may apply.

Application Cycle
Application available online: January 2023
Intent to apply deadline: February 8, 2023
Full application deadline: March 3, 2023
Adjudication: March 2023
Applicant notification: April 2023

How to Apply

Review the prize guidelines and application worksheets to apply. All applications must be submitted through OPERA America’s grants dashboard.

Guidelines & Worksheets
Below you will find the guidelines, intent to apply questions, and application questions from the previous cycle of this program. They are for reference purposes only, and are intended to provide an understanding of the program in advance of the release of this year's guidelines and questions. 2022 Guidelines (PDF)
Intent to Apply Questions (PDF)
Full Application Questions (PDF)

For questions about applications or eligibility, contact us at Grants@operaamerica.org or 646.699.5236.

BMI Workshop for Librettists

Website

Deadline: June 1, 2022

There is no fee to apply for or participate in the BMI Lehman Engel Musical Theatre Workshop.

Musical Theatre Bookwriting Basics

This nine-month course explores the fundamentals of writing book for the musical theatre.

Drama Desk Award winning bookwriter Adam Mathias (he/him) unlocks the toolkit for musical theatre librettists. Through lecture, discussion, and assignments students learn how to apply the fundamentals of playwriting to the craft of creating musicals. As a class, writers deep-dive into the DNA of the musical theatre canon — from the Golden Age through today — dissecting what works and why and then applying it to their own work.

Applicants should have a book-musical project in mind to develop over the course of the year; this musical could be anywhere from an early concept to an early draft.

The course runs September through May in New York City, Covid restrictions permitting. Prospective members should live in the city or be able to commute weekly.

Librettists Workshop

After completing the Bookwriting Basics program, writers may apply to join the established Librettists Workshop group. Not all writers who apply will be invited to join.

Applicants must submit two writing samples, at least one of which must include comedic content.

Either or both samples could be:a 10-page or longer excerpt from a script or other genre
a complete one-act
a full-length script

Any of these may be in-progress, produced and/or published material.

Scripts from genres other than playscripts or musical theatre scripts are also acceptable; however, theatrical comedy scenes are preferred to stand-up or sketch material.

In addition, writers must include a bio or resume.
Schedule

Musical Theatre Bookwriting Basics — Tuesdays 5:30 - 7:30 p.m.

Librettists Workshop — Mondays 6:15 - 8:15 p.m.

All sessions take place at the BMI Offices in lower Manhattan from September through May. All prospective members must arrange to live in the greater New York City area or be able to commute weekly September through May. Please do not apply if this is not possible for you.

Applications must be submitted by June 1st.

Campbell Opera Librettist Prize

Website

Deadline: March 4, 2022 11:59 p.m. ET

In 2020, OPERA America worked with librettist/lyricist Mark Campbell to establish the Campbell Opera Librettist Prize — the first award in the history of American opera that specifically recognizes the opera librettist. Early in Campbell’s career, Stephen Sondheim presented Campbell with the first Kleban Foundation Award — a prize for extraordinary theater writers.

The program is intended to recognize a librettist who has: 

• Exceptional talent for writing opera librettos with potential for making a substantial contribution to the American opera literature; and 
• Demonstrated experience writing for opera/music theater and a commitment to making opera a central part of their artistic work and career. 

The prize winner will receive: 

• A one-time $7,000 direct cash prize in support of their artistry and development as an opera librettist to be used by the awardee at their own discretion; 
• Access to OPERA America’s professional development programs for artists, including a two-part Opera Entrepreneurship Workshop; and
• Introductions to leading opera producers through Opera America Magazine and at future annual conferences and New Works Forum meetings. 

 Eligibility 

• Applicants must have demonstrated experience as an opera librettist and have written at least two complete librettos that have been set to music or are in the process of being set to music. 
• Applicants must demonstrate a commitment to opera as a central part of their artistic work. 
• Applicants must have U.S. citizenship, permanent residence, or Deferred Action for Childhood Arrivals (DACA) status (proof of residency and citizenship will be requested). 
• Applicant participation (past or current) in a librettist-training program is preferable, but not required. • Applicants may only apply for consideration for three cycles of this program. Applicants who have applied unsuccessfully in two cycles must articulate substantive career progress made since their last application when they submit their intent to apply. 
• Recipients of the Campbell Opera Librettist Prize may not reapply for the Prize in a subsequent cycle.  

Timeline The following timeline is in place for the 2022 Campbell Opera Librettist Prize: 

•Application available online: January 2022 

• Intent to apply deadline: March 4, 2022 (required for full application)

• Application deadline: March 30, 2022 

 • Adjudication: April 2022 

• Awardee notification: May 2022 

 How to Apply 

• Read these guidelines carefully before completing any application materials. 

 • All materials must be submitted online via the online grants system at operaamerica.org/GrantsDashboard. 

• The submission of an intent to apply is required for all applicants and is due by 11:59 p.m. ET on March 4, 2022. OPERA America will provide individualized support to applicants based on their intents to apply to guide them to the full application. Only applicants who submit an intent to apply may submit a full application. 
•  Submit a complete, final application by 11:59 p.m. ET on March 30, 2022. 
•  Applications submitted without work samples as specified in the application will not be considered. Applications that are incomplete or late will not be accepted. • Contact Diana Hossack, grantmaking director, at DHossack@operaamerica.org or 646.699.5236 with any questions. 

Application Review Process 

An independent panel will review all final applications for the Campbell Opera Librettist Prize. The panel will consist of experts with an understanding of diverse writing and creation styles, as well as new work producers from OPERA America Professional Company Members. Individuals who stand to benefit financially from a grant are ineligible to serve on the panel, and no current employee of OPERA America is eligible to serve as a panelist. Decisions of the panel are final. 

Panelists evaluate the applications based on the following criteria: 

 • Artistic Ability: The artistic quality of the work samples. 

• Creative Potential: The potential to enrich the art form and the field. 

• Impetus for Opera: Applicants’ motivations for expressing themselves through opera. 

 • Collaborative Expression: The articulation of successful collaborative work in the applicant’s artistic practice. Narrative Statements 

In addition to a current biography, applicants are required to submit written narrative statements describing their: 

• Desire to choose opera as a form for their storytelling; 

• Experience writing opera libretti; 

• Success working collaboratively with composers and other creators; and 

• Vision of how they will use their writing skills to influence the future direction of opera. Work Samples Applicants are required to submit no more than three work samples that best represent their unique voice and creative styles and demonstrate the creator’s aptitude for theatrical storytelling through music. 

 • The most competitive applications will include recent examples of works that demonstrate the librettist’s ability to write theatrical work for trained voices and instrumental ensembles. 

 • Two of the samples must be from opera librettos that have been set to music or are in the process of being set (though not necessarily premiered in a full production). Shorter and/or one-act librettos are permitted. Only complete dramatic works for the stage will be considered. Screenplays, poems, text for arias, fragments from librettos, and academic articles are not accepted. 

 • Written samples are required; audio or video recordings of the submitted samples are encouraged (whether set to music or text readings), but not required. 

• Librettos written in languages other than English must be accompanied by a complete English translation. Award Announcement • All applicants will be notified of the outcome of their requests after the panel adjudication. 

 • The award letter will contain dates for the additional OPERA America activities included in the award. 

 • The recipient of the Campbell Opera Librettist Prize will serve as the fiscal agent for the award. This is a singular award in the designated year that does not constitute continued financial support for the named awardee. 

• The Campbell Opera Librettist Prize is intended for the named awardee only and is not transferable to any other artist or organization. Reporting Requirements The awardee will receive an award letter explaining the prize terms and conditions, including financial documentation and narrative reporting requirements. A final report on how the prize has benefitted the artist in the development of their career as a librettist will be required for learning purposes for both the awardee and OPERA America. The awardee is required to acknowledge OPERA America and Mark Campbell/the Campbell Opera Librettist Prize in the manner described by OPERA America in the award letter. If the recipient of the prize has a website, it should feature OPERA America’s logo, including a hyperlink to OPERA America’s website. The recipient of the Campbell Opera Librettist Prize may be asked to submit additional documentation or cooperate with OPERA America in sharing the results of their award with the field. Staff Contact For more information, contact Diana Hossack, grantmaking director, at DHossack@operaamerica.org or 646.699.5236.

The Eric H. Weinberger Award for Emerging Librettists 2021

Website

Deadline: November 30, 2021

APPLY HERE

The Eric H. Weinberger Award for Emerging Librettists is a juried cash and production grant given annually to support the early work and career of a deserving musical theatre librettist. It commemorates the life and work of playwright/librettist Eric H. Weinberger (1950-2017), who was a Drama Desk Award nominee for Best Book of a Musical (Wanda’s World), and the playwright/librettist of Class Mothers ’68, which earned Pricilla Lopez a Drama Desk Award nomination.

The winner will receive $2,000 to help with cost-of-living expenses. The winning musical will receive development assistance in the 2021 New Works Development Program of Amas Musical Theatre, culminating in an Amas Lab production with New York theatre professionals. Amas, which is administering the award, was the development home for several of Mr. Weinberger’s musicals, and which produced the World Premiere of Wanda’s World and the New York Premiere of Tea for Three.

While the pandemic put a pause on in-person lab productions for, our award recipients of the past two consecutive years will finally take the stage in our spring 2022 Dare to Be Different Festival.

It was our honor to nominate our 2020 winner, Cheeyang Ng for the 2021 Princess Grace Award, which he won. Ng and colleague, Eric Sorrels, received the 2020 award for their musical MĀYĀ: the story of a struggling poet in need of an awakening, not unlike India herself.

Submissions will open in September 20, 2021 and will close in November 30, 2021. All submissions must be sent through an online application that can be found HERE. Only one submission per playwright/librettist will be accepted. The winner of the award will be announced spring 2022.
Amas Musical Theatre will not ask for any fees for entry or for any fiduciary involvement

from the playwright/librettists at any point of the process.

Submission Requirements:

The musical must:

Be a full-length show (at least 80 minutes)

Have no more than seven actors (actors may play multiple roles, if so please include a suggested breakdown of role distribution)

Be complete and ready for readings, workshops and/or productions

Have a demo that is an accurate representation of the music and style of the show (at least five songs)

Have full underlying rights clearance of any pre-existing material used in the script (music, source material, etc.)

Not have had a full production or be published in any way, even if with a different name.

What to submit

All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of PART_TITLE, i.e.: for Tea for Three; BIO_TEA-FOR-THREE, SYNOPSIS_TEA-FOR-THREE, etc.

Biography and resumes of all contractually attached people such as composer, director, producer to the project

History of the submission’s development, and any previous titles it has gone through (if applicable, maximum one page)

Brief synopsis (maximum 150 words)

Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)

Proof of rights (if applicable)

Demo and track listings (Demo selections to be posted as a Dropbox link)

PDF document of the full-script and sheet music, if available


Guidelines for Materials

All submissions must adhere to the following or your application will be disqualified before reaching our selection committee.

PROOF OF RIGHTS

If the musical contains any copyrighted material, please submit a signed letter from the authors and/or underlying rights representative stating that underlying rights have been secured.

FULL SCRIPT

The full script must include:

Title page (which should only have the title on it and absolutely no other information)

Character breakdown (maximum one page)

The complete script with page numbers

For the anonymity of your submission, the full script and sheet music cannot include any information on playwright/ librettist or contractually attached people, previous casts, or any agents. All submissions will go through a blind evaluation process, any personal information you provide will only be available to Amas Musical Theatre staff.
Demo Tracks

The recording should be a significant representation of the songs in the show that accurately highlights the style and character of the score and lyrics.

Demo tracks should:

Include at least one song from the first 25 pages

Have at least five recordings available – they do not need to be professional or studio quality but they must be clear enough to hear lyrics, melody, and accompaniment

Have singers of appropriate vocal types for their respective roles

Be full songs only, no medleys of spliced songs

For the anonymity of your submission, tracks cannot include any personal identifiers for playwright/librettist(s), the performers recorded, or contractually attached people.

Strange Trace Stencils 2022: Thresholds

web site

Deadline: August 1, 2021 11:59 EDT

Strange Trace is pleased to announce our second annual Stencils Festival! We’re seeking proposals for short (up to 20 minute) works of chamber opera to be workshopped and produced by Strange Trace throughout our 21/22 season for inclusion in the Stencils Festival, to be held in the first weekend of June, 2022. If you’re a composer, librettist, playwright, or theater-maker and you’ve got an idea for us, we’d love to hear from you!
Theme

This year, the theme for Stencils is Thresholds! We’re looking for works that creatively engage with the theme in a variety of ways—literally, figuratively, metaphorically, surreally, metaphysically, etc.—so have fun with it. A threshold can be a door, a limit, a point of no return, a place of change, a veil, a plane of transformation—we’re looking forward to seeing the imaginative ways we can represent this theme through music and theater. 

Who Can Apply

Stencils is open to anyone. Artists of all ages and nationalities are eligible to apply. Proposals can come from composers, librettists or composer/librettist teams—we use those terms as a convenience, simply meaning “music maker” and “word writer”—so even if you haven’t previously considered yourself an “opera person,” or even a traditional composer, we’d love to hear your proposal!

Artists of underrepresented identities are especially encouraged to apply.

Applicants need not be in the Boston area, as there will be the possibility for fully virtual participation from composers and librettists.

We are a small, self-started company gearing up for our second season. All artists selected for Stencils will be given an honorarium. The exact amount is not yet determined, but will be communicated in writing prior to accepting the commission.

What We’re Looking For

We love theatrical works of any style. Proposals should be for works under twenty minutes. A few things to bear in mind:

The exact format of the festival is not yet set—there may be a combination of digital and live presentations (TBD pending practical and safety concerns), so proposals should have a degree of flexibility in that regard

Stencils shows will be cast from Strange Trace’s five singer/actor members

Proposals with casts of 1-3 are especially encouraged

We will work with composers/librettists on casting, but all final casting decisions will be made by Strange Trace

The instrumentation available for the festival is not yet determined, but will be set by Strange Trace before the composition process begins

Works for open instrumentation and unaccompanied works are great, too!

Piano may not be available, but our keyboard player, Greg, has an awesome variety of electronic keyboard instruments!

Use of electronics is possible, with the understanding that the composer should be able to provide us with all the tools we need

We’re looking for shows that engage with our mission and values

You may submit a work that you have already begun working on, with the understanding that it will be tailored to fit Strange Trace through the development and production process of Stencils

Our first Stencils Festival wraps up on-demand viewing July 4-6th; if you didn’t catch it, we will be posting excerpt videos on our website soon. Our website and YouTube channel include other video productions, and applicants are encouraged to take a peek and see what we’re about!
The Application and Review Process

The application process has two rounds. For the first round, please fill out the corresponding Google Form, linked below, which will collect some basic information about you and your idea. The round one form is due by August 1st (at 11:59PM EDT). Artists can apply in one of four ways:

An individual composer/librettist (one artist who will write the words and the music)

A composer and librettist team (two artists who are proposing a work together)

A composer looking to be paired with a librettist (one artist who will write the music, and would like to meet an artist to write the words)

A librettist looking to be paired with a composer (one artist who will write the words, and would like to meet an artist to write the music)

Last year, we produced works from each of those categories, so please don’t hesitate to apply if you’re looking to be paired with a collaborator!

Each application will be read by Strange Trace members, scored, and discussed in group meetings to determine which proposals move to the second round. In the second round, in addition to requesting samples of your work, we will have specific questions for your proposal which came up in our discussion from round one.

From round two, a small group of finalists will be selected for interviews, which will help us determine the shows we will produce. These interviews will be held virtually, and will be scheduled during round two of the application process. We’ll make sure you have everything you need beforehand—we just want a chance to meet you and get to know you a bit!
The Production Process

Each selected work will be paired with a Strange Trace member who will serve as the project lead, and will help guide the show through a workshop process tailored specifically to each show, which will include events like table reads and discussions, brainstorming sessions, semi-staged libretto readings, score readings, rehearsals and coachings, and eventually the production itself! While there may be some in-person participation possible, all events will be able to be fully attended virtually. Below, you’ll find a rough timeline which, while subject to change, will give you an idea of the scope of the development process.
Timeline

Please note that this is our current plan, but it is subject to change—particularly pending safety concerns. We will be very communicative about scheduling.

JULY 1st: Stencils Festival 2022 Call for Proposals opens

AUGUST 1st: Round 1 form closes at 11:59PM EDT

SEPTEMBER 1st: Proposals selected for round 2 are notified and materials are requested

SEPTEMBER 8th: Round 2 materials are due

SEPTEMBER 30th: Finalists are notified and interviews are scheduled

OCTOBER 8th: Winners are selected and notified

OCTOBER/NOVEMBER: Libretto writing and workshopping

NOVEMBER/DECEMBER: Score writing

JANUARY: Score draft reading and workshopping

FEBRUARY: Rehearsal score due

FEB/MARCH/APRIL: Music learning, rehearsals and coachings

MAY: Staging rehearsals and/or filming

JUNE: Stencils Festival!
Questions

If you have any questions about Stencils or the call for proposals, please email us at strangetraceopera@gmail.com

BMI Librettists Theater Workshop

web site

Deadline: June 1, 2021

Apply Online

Musical Theatre Bookwriting Basics

This nine-month course explores the fundamentals of writing book for the musical theatre.

Drama Desk Award winning bookwriter Adam Mathias (he/him) unlocks the toolkit for musical theatre librettists. Through lecture, discussion, and assignments students learn how to apply the fundamentals of playwriting to the craft of creating musicals. As a class, writers deep-dive into the DNA of the musical theatre canon — from the Golden Age through today — dissecting what works and why and then applying it to their own work.

Applicants should have a book-musical project in mind to develop over the course of the year; this musical could be anywhere from an early concept to an early draft.

The course runs September through May in New York City, Covid restrictions permitting. Prospective members should live in the city or be able to commute weekly.
Librettists Workshop

After completing the Bookwriting Basics program, writers may apply to join the established Librettists Workshop group. Not all writers who apply will be invited to join.

Applicants must submit two writing samples, at least one of which must include comedic content.

Either or both samples could be:

• a 10-page or longer excerpt from a script or other genre
• a complete one-act
• a full-length script

Any of these may be in-progress, produced and/or published material.

Scripts from genres other than playscripts or musical theatre scripts are also acceptable; however, theatrical comedy scenes are preferred to stand-up or sketch material.

In addition, writers must include a bio or resume.
Schedule

Musical Theatre Bookwriting Basics — Tuesdays 5:30 - 7:30 p.m.

Librettists Workshop — Mondays 6:15 - 8:15 p.m.

All sessions take place at the BMI Offices in lower Manhattan from September through May. All prospective members must arrange to live in the greater New York City area or be able to commute weekly September through May. Please do not apply if this is not possible for you.

Applications must be submitted by June 1st.

Third Annual Eric H. Weinberger Award for Emerging Librettists

web site

Deadline: November 30, 2020

The Eric H. Weinberger Award for Emerging Librettists is a juried cash and production grant given annually to support the early work and career of a deserving musical theatre librettist. It commemorates the life and work of playwright/librettist Eric H. Weinberger (1950-2017), who was a Drama Desk Award nominee for Best Book of a Musical (Wanda’s World), and the playwright/librettist of Class Mothers ’68, which earned Pricilla Lopez a Drama Desk Award nomination.

The winner will receive $2,000 to help with cost-of-living expenses. The winning musical will receive development assistance in the 2021 New Works Development Program of Amas Musical Theatre, culminating in an Amas Lab production with New York theatre professionals. Amas, which is administering the award, was the development home for several of Mr. Weinberger’s musicals, and which produced the World Premiere of Wanda’s World and the New York Premiere of Tea for Three.

Submissions will open on September 14, 2020 and will close November 30, 2020. All submissions must be sent through an online application that can be found HERE. Only one submission per playwright/librettist will be accepted. The winner of the award will be announced late February-early March 2021.

Amas Musical Theatre will not ask for any fees for entry or for any fiduciary involvement

from the playwright/librettists at any point of the process.

APPLY HERE

Submission Requirements:

The musical must:

• Be a full-length show (at least 80 minutes)
• Have no more than seven actors (actors may play multiple roles)
• Be complete and ready for readings, workshops and/or productions
• Have a demo that is an accurate representation of the music and style of the show (at least five songs)
• Have full underlying rights clearance of any pre-existing material used in the script (music, source material, etc.)
• Not have had a full production or be published in any way, even if with a different name.

What to submit

• All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of PART_TITLE, i.e.: for Tea for Three; BIO_TEA-FOR-THREE, SYNOPSIS_TEA-FOR-THREE, etc.
• Biography and resumes of all contractually attached people such as composer, director, producer to the project
• History of the submission’s development, and any previous titles it has gone through (if applicable, maximum one page)
• Brief synopsis (maximum 150 words)
• Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)
• Proof of rights (if applicable)
• Demo and track listings (Demo selections to be posted as a Dropbox link)
• PDF document of the full-script and sheet music, if available

Guidelines for Materials

All submissions must adhere to the following or your application will be disqualified before reaching our selection committee.

PROOF OF RIGHTS

If the musical contains any copyrighted material, please submit a signed letter from the authors and/or underlying rights representative stating that underlying rights have been secured.

FULL SCRIPT

The full script must include:
Title page (which should only have the title on it and absolutely no other information)
Character breakdown (maximum one page)
The complete script with page numbers

For the anonymity of your submission, the full script and sheet music cannot include any information on playwright/ librettist or contractually attached people, previous casts, or any agents. All submissions will go through a blind evaluation process, any personal information you provide will only be available to Amas Musical Theatre staff.

Demo Tracks
The recording should be a significant representation of the songs in the show that accurately highlights the style and character of the score and lyrics.

Demo tracks should:
Include at least one song from the first 25 pages
Have at least five recordings available – they do not need to be professional or studio quality but they must be clear enough to hear lyrics, melody, and accompaniment

Have singers of appropriate vocal types for their respective roles
Be full songs only, no medleys of spliced songs
For the anonymity of your submission, tracks cannot include any personal identifiers for playwright/librettist(s), the performers recorded, or contractually attached people.

The Selection Process

Scripts will be read and evaluated through a blind submission process by Amas Musical Theatre’s literary team. A group of finalist plays will be read and evaluated by a selection committee, comprised of distinguished artists and playwrights, using a blind evaluation process. Committee members will not be given any additional information beyond the title of the show, the script and the demo tracks.

Any personal information you provide in the application is seen by the Amas Musical Theatre staff only, not the selection committee. Our process is based on the quality of the work submitted.

Round 1 (September-December)

• Our literary team reads the first 25 pages of the book and listens to the demo for any track related to these pages.
• The team fills out evaluations for each show, which determine the submissions that continue to Round 2.
• If selected as a finalist, the show’s application primary contact is notified via email.

Round 2 (January-March)

• The selection committee reads the scripts in full and listens to all demo tracks submitted.
• Committee members discuss the finalists to determine which one is best suited for the award.
• The winner will be announced at the Amas Musical Theatre's 51st Anniversary Benefit Event in April 2020.
• The application’s primary contact is notified and a development schedule is created with the winner.
• We will not be able to provide feedback regarding why a particular piece was or was not selected.

The Winner

• Will receive $2,000 to help pay for cost-of-living expenses.
• Will receive development assistance in the 2020 New Works Development Program of Amas Musical Theatre.
• Will have the selected show rehearsed and performed by New York theatre professionals in an Amas Lab production.
• Must be present in New York City for the development process.
• Must give the right of first refusal for a world premiere of the selected show that will expire 90 days after 
• Amas Musical Theatre presents the Lab production.

APPLY HERE

FWO Libretto Workshop seeks submissions

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Deadline: September 14, 2020 at midnight

Frontiers: FWO Libretto Workshop is an exciting exploration of operatic storytelling, and the eighth installment of the company’s innovative new works showcase. Led by Pulitzer Prize and Grammy Award-winning librettist and lyricist Mark Campbell, this two-night online event will be held in front of a live Zoom audience. While the first seven installments of Frontiers highlighted thrilling new unproduced works-in-progress, the company’s latest workshop strips away the musical elements and focusses entirely upon the text of new operas in-the-making. In addition to Mr. Campbell’s presence, FWO’s workshop will feature a distinguished panel of librettists, composers, directors, and artists, including Héctor Armienta, Nicole Brooks, Octavio Cardenas, Blythe Gaissert, Alison Moritz, Rachel J. Peters, Kelley Rourke, and Talise Trevigne.

In creating this program, Fort Worth Opera wanted to provide librettists with a platform for dramaturgical development and assure the industry and opera lovers everywhere that the storytellers within this incredible art form would not be neglected during the COVID-19 pandemic. The company continues its commitment to supporting the creation of new works, and Frontiers: FWO Libretto Workshop will provide librettists with an exclusive opportunity to hone their craft. Not only will they experience passages of their libretto performed by professional actors, but they will receive real-time feedback from some of the top creative minds in opera. Librettists will also be able to obtain a recording of the Zoom workshop to assist them further in their compositional process.

This collaborative series is presented free of charge to all participating librettists and auditors. Donations of any amount are encouraged and accepted in support of Fort Worth Opera’s educational programming. Click HERE to learn more.

SUBMISSION INFO (SUBMISSIONS ACCEPTED AUGUST 19 - SEPTEMBER 14, 2020)

Librettists from the Americas (citizens or residents of North, Central, and South America, as well as associated territories) are eligible and invited to submit a libretto. All application materials must be submitted electronically through the Frontiers web portal. Six libretti will be selected and showcased. Works not selected will not be automatically reconsidered for future showcases.

Submissions will be accepted through Monday, September 14, 2020, at midnight. On Tuesday, September 29, six librettists will be chosen, and the winning selections will be publicly announced. Only completed libretti will be considered. Due to the online forum of this workshop, libretti must be in English, and submissions must include a synopsis. There is no fee for submissions. Fort Worth Opera retains the right to select fewer than six works for the showcase.

BMI Theatre Workshop 2020

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Deadlines
Composers/Lyricists: August 1, 2020.

Applicants will be notified by August 21, 2020.

Composers/Lyricists
Librettists

Application Materials
Composer: Three contrasting compositions - uptempo, comedy song, ballad. Please include copy of score which includes lyrics.
Lyricist: Three contrasting lyrics in PDF format - uptempo, comedy song, ballad.
Composer/Lyricist: Three contrasting songs - uptempo, comedy song, ballad. Please include copy of score which includes lyrics.

Note that if you apply as a composer and a lyricist, you will be accepted as one or the other (that is, as either a composer or a lyricist) and you will be assigned different collaborators over the course of the year. If you apply as both a composer/lyricist and a librettist and are accepted as both, you will spend your first year as a composer/lyricist only, as the two groups meet at the same time.
Auditions

Select applicants will be invited to audition in early September. Librettist are accepted on the basis of their written materials and are not required to audition.

At the auditions, composers and composer/lyricists will be asked to perform at least two contrasting theatrical compositions; lyricists will be asked to recite samples of their theatrical lyrics. All auditions must be done live, using a piano.
Program upon Acceptance

The Workshop runs September through May in New York City. Prospective members must make their own living arrangements in the city or be able to commute weekly.

During the first year, composers and lyricists are paired off and are asked to create appropriate songs based on scenes from various sources. The writers perform their assignments, which are then discussed by the other writers and the moderators. There are analyses and discussions of current and past musicals, with an eye to understanding form and structure. Every effort is made to insure that each writer retains his or her individual style.

In the Workshop’s final phase (Second Year), teams work on a musical. The Workshop functions as a forum and a sounding board for works in progress, as music and lyrics are critically evaluated and open dialogue is encouraged.

At the end of each Second Year, the Workshop Committee determines which writers from the group are invited to join the Advanced Workshop. Not everyone is asked. This Workshop is intended for writers of professional caliber who are expected to contribute to the vitality of the musical theatre scene.
Schedule

The First Year Workshop meets Monday at 6:15 p.m. The Second Year Workshop meets Tuesday at 5:30 p.m. The Advanced Workshop meets Monday at 4:00 p.m.
Fees

There is no fee to apply for or participate in the BMI Lehman Engel Musical Theatre Workshop.

Fred Ebb Award 2020

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Deadline: June 30, 2020

Each applicant must be a composer/lyricist or composer/lyricist team wishing to create work for the musical theatre, and must not yet have achieved significant commercial success.

Application Materials:
Electronic files of up to four songs from one or more musical theatre pieces, with typewritten lyrics and a description of the dramatic context for each song; and
A completed application form.

Application Guidelines:

• All applications will be coded as they arrive. Because all submissions will be reviewed blind, please do not place name(s) of writer(s) on electronic file names, lyric sheets, or description of dramatic context. Names should only appear on the Application Form.
• MP3, ZIP, and M4A files are preferred, but Dropbox links will be acceptable as well. Dropbox files should not have time limits.
• Only musical theatre work will be considered.
• Please do not submit recordings with any audience sound.
• The applicant(s) must have written all the songs included in the submission. For example, a composer cannot submit one song with her own lyrics, and a second song with lyrics by another writer.
• No individual may appear on more than one application. You cannot apply as an individual and again as part of a team, or as part of more than one songwriting team.

Submission Deadline and Award: Applications will be accepted from June 1st – June 30th.

Please submit applications to:
fredebbfound@gmail.com

The winner will be selected in November and will receive $60,000.

Download the Ebb Award Application 2020.

Eric H. Weinberger Award for Emerging Librettists

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The Eric H. Weinberger Award for Emerging Librettists is a juried cash and production grant given annually to support the early work and career of a deserving musical theatre librettist. It commemorates the life and work of playwright/librettist Eric H. Weinberger (1950-2017), who was a Drama Desk Award nominee for Best Book of a Musical (Wanda’s World), and the playwright/librettist of Class Mothers ’68, which earned Pricilla Lopez a Drama Desk Award nomination.

The winner will receive $2,000 to help with cost-of-living expenses. The winning musical will receive development assistance in the 2020 New Works Development Program of Amas Musical Theatre, culminating in an Amas Lab production with New York theatre professionals. Amas, which is administering the award, was the development home for several of Mr. Weinberger’s musicals, and which produced the World Premiere of Wanda’s World and the New York Premiere of Tea for Three.

Submissions open Tuesday September 17, 2019 and will close on Friday November 29, 2019. All submissions must be sent through an online application. The link may be found on our website.
Only one submission per playwright/librettists will be accepted. The winner of the award will be announced at Amas Musical Theatre's 51st Anniversary Benefit Event on March 30, 2020. Amas Musical Theatre will not ask for any fees for entry or for any fiduciary involvement from the playwright/librettists at any point of the process.

Submission Requirements:

The musical must:
·         Be a full-length show (at least 80 minutes)
·         Have no more than seven actors  (actors may play multiple roles)
·         Be complete and ready for readings, workshops and/or productions
·         Have a demo that is an accurate representation of the music and style of the show (at least five songs)
·         Have full underlying rights clearance of any pre-existing material used in the script (music, source material, etc.)
·         Not have had a full production or be published in any way, even if with a different name.
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What to submit
All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of PART_TITLE, i.e.: for Tea for Three; BIO_TEA-FOR-THREE, SYNOPSIS_TEA-FOR-THREE, etc.
1.       Biography and resumes of all contractually attached people such as composer, director, producer to the project
2.       History of the submission’s development, and any previous titles it has gone through (if applicable, maximum one page)
3.       Brief synopsis (maximum 150 words)
4.       Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)
5.       Proof of rights (if applicable)
6.       Demo and track listings (Demo selections to be posted as a Dropbox link)
7.       PDF document of the full-script and sheet music, if available

Guidelines for Materials
All submissions must adhere to the following or your application will be disqualified before reaching our selection committee.
PROOF OF RIGHTS
If the musical contains any copyrighted material, please submit a signed letter from the authors and/or underlying rights representative stating that underlying rights have been secured.
FULL SCRIPT
The full script must include:
1.       Title page (which should only have the title on it and absolutely no other information)
2.       Character breakdown (maximum one page)
3.       The complete script with page numbers
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For the anonymity of your submission, the full script and sheet music cannot include any information on playwright/ librettist or contractually attached people, previous casts, or any agents. All submissions will go through a blind evaluation process, any personal information you provide will only be available to Amas Musical Theatre staff.
Demo Tracks
·         The recording should be a significant representation of the songs in the show that accurately highlights the style and character of the score and lyrics.
·         Demo tracks should:
1.       Include at least one song from the first 25 pages
2.       Have at least five recordings available – they do not need to be professional or studio quality but they must be clear enough to hear lyrics, melody, and accompaniment
3.       Have singers of appropriate vocal types for their respective roles
4.       Be full songs only, no medleys of spliced songs
For the anonymity of your submission, tracks cannot include any personal identifiers for playwright/librettist(s), the performers recorded, or contractually attached people.
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The Selection Process
Scripts will be read and evaluated through a blind submission process by Amas Musical Theatre’s literary team. A group of finalist plays will be read and evaluated by a selection committee, comprised of distinguished artists and playwrights, using a blind evaluation process. Committee members will not be given any additional information beyond the title of the show, the script and the demo tracks.
Any personal information you provide in the application is seen by the Amas Musical Theatre staff only, not the selection committee. Our process is based on the quality of the work submitted.
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Round 1 (September-December)
1. Our literary team reads the first 25 pages of the book and listens to the demo for any track related to these pages.
2. The team fills out evaluations for each show, which determine the submissions that continue to Round 2.
3. If selected as a finalist, the show’s application primary contact is notified via email.
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Round 2 (January-March)
1.  The selection committee reads the scripts in full and listens to all demo tracks submitted.
2.  Committee members discuss the finalists to determine which one is best suited for the award.
3.  The winner will be announced at the Amas Musical Theatre's 51st Anniversary Benefit Event in April 2020.
4.  The application’s primary contact is notified and a development schedule is created with the winner.

We will not be able to provide feedback regarding why a particular piece was or was not selected.
The Winner

• Will receive $2,000 to help pay for cost-of-living expenses.
• Will receive development assistance in the 2020 New Works Development Program of Amas Musical Theatre.
• Will have the selected show rehearsed and performed by New York theatre professionals in an Amas Lab production.
• Must be present in New York City for the development process.
• Must give the right of first refusal for a world premiere of the selected show that will expire 90 days after Amas Musical Theatre presents the Lab production.

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Twitter: @AmasMusicalThtr

Website: amasmusical.org