TRW (Theatrical Rights Worldwide) is proud to announce the January 2016 release of our much-anticipated Young@Part™ series of Broadway shows adapted for elementary and middle school aged kids. The first three titles, MONTY PYTHON’S SPAMALOT, ALL SHOOK UP and CURTAINS, have been in development over the last 24 months, going through a series of pilot productions and innovations with in-house experts and community partners.
TRW President & CEO Steve Spiegel announced: “Our entry into the junior musical theatre market has been a cornerstone of our planning since I started TRW. Our commitment to providing young people and theatre educators around the world with top-quality editions of contemporary Broadway shows will be realized in January with the release of the first three Young at Part shows. The entire TRW Team is excited to be able to offer SPAMALOT, ALL SHOOK UP and CURTAINS to our thousands of elementary and middle school and youth theatre partners everywhere. And our future release schedule will ensure that the Young at Part collection will continue to grow and innovate in the junior musical marketplace.”
Spiegel was the creator of the junior theatre phenomenon, and his pioneering vision lead the way for development of the first edited for kids versions of Broadway shows, in the 1980’s and 1990’s. “The release of the first three shows in this collection is only the beginning of what will be a very large part of what we do at TRW,” Spiegel said. “This is a labor of love for us, as we know the history of what an adaptation of a Broadway show for kids can do for the authors of the shows and for the whole theatre community. The world of contemporary Broadway now becomes a part of the classic landscape of musical theatre, and I’m proud to have TRW at the forefront of this exciting new format for kid’s musicals.”
The Young@Part™ collection titles feature a break-through innovation, a new option that will allow customers to order their show materials digitally with TRW’s ShowfilesNOW, or though the traditional, show-in-a-box format, with scripts, scores, CD of accompaniment and example vocal tracks. For the first time ever, world-class Broadway titles edited for young people to perform, will be made available for instant download to theatre educators everywhere. “Secure digital access to educational theatre musicals is a must and TRW is again leading the way here for the industry,” Spiegel said. TRW was the first to offer a digital perusal service for Broadway musicals, PersualsNOW, in 2008.
“We’ve prepared for the long-term protection and promotion of our authors’ work by embracing the digital distribution of licensed IP in the Grand Rights arena,” Spiegel said. “As we move to a digital environment for the industry, we’re pleased to open this vital window to schools and youth theatres to give them instant access to rehearsal materials for their classrooms and performance spaces, wherever they may be around the globe.”
And coming soon…we will announce the release of Queen’s SCHOOLS WILL ROCK YOU and TRW’s School Editions!
Coming soon from TRW!
All photos by Claire Buffie
Theatrical Rights Worldwide (TRW) hosted 175 regional theatre managers and creatives for a celebration of our 10th year representing Broadway, Off Broadway and theatre for young audience shows. The invitation-only dinner and concert event was held Oct 15, aboard the luxury yacht Atlantica, setting sail from Pier 61 at 7pm, providing breathtaking views of New York City.
The three-hour event featured special concert performances from Bobby Steggert, reprising his show-stopping “Stranger,” from BIG FISH. Michelle Ragusa beautifully delivered the title song from TRW’s newly acquired TENDERLY: THE ROSEMARY CLOONEY MUSICAL. Ben Clark and Kate Steinberg performed a haunting, searing “Here Right Now,” from GHOST THE MUSICAL, then GLEE’s Jenna Ushkowitz brought her trademark star power to “Without the Guy,” from DISENCHANTED! Next up from TRW’s new edition of SATURDAY NIGHT FEVER THE MUSICAL was the uber-talented Natalie Weiss with a stunning rendition of a seductive “Nights On Broadway.” In a surprise finale, Tony Award winning composer David Bryan, of Bon Jovi fame, took the stage and brought down the house, playing a brilliant medley of songs from his 2010 Best Musical MEMPHIS. Accompaniment and music direction for the concert was provided by Jeff Theiss.
Opening with a cocktail reception, TRW’s founder, owner and CEO Steve Spiegel welcomed the group of key professional theatre programmers with remarks focusing on the close business and personal relationships he has cultivated with attendees during his 36 years licensing musical theatre around the world. “Each of you here this evening are a vital part of the musical theatre world. A world of creativity, invention and wonder that brings incredible beauty to the world’s artistic landscape. We thank you and honor your continuing commitment to nurturing musical theatre,” Spiegel said.
TRW’s Vice President Sean Cercone emceed the event, marking the company’s first decade with opening comments before the concert. “Each and every day, the TRW staff members sitting among you inspire groups to produce the shows we represent, but more significantly they authentically engage each producer, artistic director, community theatre director and most importantly, teachers in all levels of our school systems,” Cercone said. “We try to help these organizations in any way we can to exceed their own expectations, because we know a stronger, more vibrant American theatre is better for all of us. That’s how this team approaches its day, that’s the kind of culture Steve Spiegel fosters and that’s what it means to work for TRW.”
TRW was created by Spiegel in 2006. The agency represents JERSEY BOYS, GREASE MONTY PYTHON’S SPAMALOT, MEMPHIS, THE ADDAMS FAMILY, THE COLOR PURPLE, ALL SHOOK UP, GHOST THE MUSICAL, BIG FISH, RING OF FIRE, CURTAINS, SATURDAY NIGHT FEVER, PRISCILLA QUEEN OF THE DESERT, MILLION DOLLAR QUARTET, and a select group of Theatre for Young Audiences (TYA) and Off Broadway and Regional Theatre musicals.
All photos by Claire Buffie
We know you’re not supposed to judge a show by its poster, but it’s about time the graphic designers got some credit. Below are 10 of our favorite original show posters from the TRW catalog, in no particular order. We feel these convey the essence of each show with an original perspective.
Do you think your production has a wonderful poster? Send an email to email@example.com with an image and you might see it on our blog!
If there is one superstition that holds true for all in the theatre, it is that of… Macbeth. In case you weren’t aware, it is horrible luck to say “Macbeth” in a theater. While there is no confirmed origin to its infamy, it is speculated to be caused by many mysterious deaths that took place during productions of Shakespeare’s Macbeth. Apparently, and I had no clue this existed, there is a cure for uttering the word that shant be spoken: Exit the theater, spin three times, spit, and utter a Shakespearean insult. Random Fact: President Lincoln read Macbeth days before his assassination, allegedly.
The Ghost Light
Nearly every theatre turns on a ghost light at night, one single light bulb standing in the middle of the stage. Many speculate this tradition began to ward off the evil spirits. I say, “That’s baloney!” I think there is a ghost light so the first person to get to the theatre can see where to go to turn the lights on. But believing in ghosts is a lot more fun. Remind me to tell you about the time I sat in a dark theatre with “real” ghost hunters and all their supernatural gear looking for ghosts. According to the experts, the theatre was very haunted. Again, I say, “That’s baloney!”
There are many theories about where the ‘break-a-leg’ superstition came from. We never say, ‘good luck’ in the theatre, it’s ‘break-a-leg!’ My favorite, and most believable theory of its start, comes from the days of Vaudeville. During this time, theatres would book more performers than necessary in the case that someone got hurt, or didn’t show up. One catch, they would only pay the acts that performed for the audience. Thus, performers would hope that they would break the view of the side curtain, aka the leg, and get to perform. Makes sense to me.
Unbeknownst to me, whistling is bad luck in a theater. After taking a poll around the office, this is more widely known than I expected. This superstition dates back to the original stage hands, who were sailors. They used the same whistling codes for theatrical rigging as they did for ship rigging. So, if “Always Look On The Bright Side Of Life” was sung back in the day, the rigging would be going crazy!
“Making Your Nut”
Now this is not really a superstition, but rather a great history lesson. This phrase dates back to the 16th century and refers mostly to the producer side of theatre. “Making Your Nut” is to break even. Back in the days of Shakespeare, Pageant Wagons would come to town to perform and the authorities would remove the wheels (or nuts) until the performers had settled all debts owed. Once they’d paid up, the the owner…or bar owner as the case may be, would return their wheels (aka nuts) and they’d be on their way.