Nothing Like Broadway! is a clever, creative, totally original four-person musical comedy. The story of the show actually takes place in a small theater, so it would make sense to put it up— for example— once a week on a dark night in a theater that has another show running, even with that other show’s set.
The lyrics and music of the show are well-crafted classic musical comedy/cabaret type songs (only perfect rhymes, the stresses of the words perfectly fit the meter of the melody, catchy music, that sort of thing). It’s a clear, high-stakes story with a beginning, a middle, and a satisfying end. The show is fun and zippy, and has great opportunities for knock-out performances from each of the four actors. And the practicality of getting this show Off-Broadway (even if it’s for three months of Mondays) make it a great way to get our feet in the door of the NY theater industry.
What is the synopsis?
Nothing Like Broadway! is a four-character farce set in a little off-Broadway-type cabaret theater. It’s about what happens when two rival international super-spies hide out there (from each other), posing as cabaret singers. Our underdog hero is Milo, the schlubby lighting guy (and the actual lighting guy for the show) who dreams of performing on the stage. Worlds collide, hearts get broken, and our hero ends up saving the world, falling in love, and maybe even singing on that glorious, tiny stage.
Why is this a fun show?
It is like a four-person cabaret revue (like Closer Than Ever or Side by Side by Sondheim), but with characters and a plot; each song is its own performer-forward showpiece.
Every song is either a story song, a comedy song, a Big Sing song, or some other major type of song; it’s all meat, no filler.
The plot is both incredibly high-stakes (nuclear war in the theater!) and also light and farcical (accented singing spies, an elaborate comedic chase scene!).
The story moves briskly, and climaxes in an innovative, all-sung extended farce chase scene.
The show gives the audience and performers a major theater experience, as well as an intimate small theater/cabaret experience.
The show is about the love of musical theater, and the underdog triumphing. Who doesn’t love that?
Why is this practical?
The story of the show literally takes place at a small Off-Broadway theater. So there’s no set, and it even makes sense on top of another show’s set. It also takes place all around the theater (in the light booth, back of the house, above the stage), and can be adapted to take full advantage of the quirks of different spaces.
The main character of the show is the show’s actual light guy. He really runs the lights for the show!
We only need four actors and three musicians (and no additional light guy!).
There are minimal costumes (a tux, a cabaret dress, stagehand blacks, etc.)
Just a “bucket of props”.
The title, Nothing Like Broadway! should appeal to tourists looking for a smaller show, perhaps on a night when big Broadway shows are dark. The title should also pique serious theater fans’ interest.
We could move the show to various venues pretty easily. We could slightly adapt the staging (and maybe add a couple lines of dialogue, or alter a couple of couplets) if we want. But basically, this show is a movable feast.
Nothing is cheap in theater, but this show requires a lot less capital than most.
Why is this good for actors?
Each of the four parts has a lot of opportunities to show off. They are all potentially “star-making” parts with big character arcs. Each performer has multiple solos and duets, comedy showcases, as well as big vocal numbers. This is a show you invite agents and casting people to.
In an emergency situation, we could probably swap in a replacement if a performer became unavailable on short notice. (They could actually be on-book for the in-world cabaret numbers.)
Why are the songs good?
“Old fashioned” craftsmanship and showmanship. All of the rhymes are perfect rhymes. Every lyric scans to the music without fail. The songs are melodic and digestible. There is a wide variety of styles.
The songs are all performance-based. So they should each be fun to watch (even out of context). They also move the story along, so in context, they’re even better.
Would we go after “name” actors?
It’s not necessary. But if we wanted to slot in a name actor (for example, for the character of Kishka) for a limited time, it wouldn’t take that much rehearsal. These could be Broadway names, or even (talented) names from other media. This could be something that happens down the road, or from the get-go. It would be promotable, and a reason to see the show for a second time (and bring friends!). But again, this show works with super-talented unknowns.
Why is this a good career “foot in the door” show?
This show is a showcase for the writer, performers, producers, and marketers. The whole impetus for the show was to see how much we could do with how little. How creative can we be? How “big”? How much theater magic could we create using only ingenuity, tenacity, and gaffer tape. The production and marketing of the show should follow suit. It’s an exciting opportunity for everyone involved to show the world what we’re capable of. Getting a “buy in” from potential fans via social media is a major part of what would make this show successful. Also, even if we run for only three months of Mondays Off-Broadway, we have a legitimate Off-Broadway credit for our show. And… once we have that imprimatur, this would be a great property to license and/or produce in other cities regionally. Although ideally, we could move into an open-ended eight show a week run Off-Broadway, too.
The lyrics and music of the show are well-crafted classic musical comedy/cabaret type songs (only perfect rhymes, the stresses of the words perfectly fit the meter of the melody, catchy music, that sort of thing). It’s a clear, high-stakes story with a beginning, a middle, and a satisfying end. The show is fun and zippy, and has great opportunities for knock-out performances from each of the four actors. And the practicality of getting this show Off-Broadway (even if it’s for three months of Mondays) make it a great way to get our feet in the door of the NY theater industry.
What is the synopsis?
Nothing Like Broadway! is a four-character farce set in a little off-Broadway-type cabaret theater. It’s about what happens when two rival international super-spies hide out there (from each other), posing as cabaret singers. Our underdog hero is Milo, the schlubby lighting guy (and the actual lighting guy for the show) who dreams of performing on the stage. Worlds collide, hearts get broken, and our hero ends up saving the world, falling in love, and maybe even singing on that glorious, tiny stage.
Why is this a fun show?
It is like a four-person cabaret revue (like Closer Than Ever or Side by Side by Sondheim), but with characters and a plot; each song is its own performer-forward showpiece.
Every song is either a story song, a comedy song, a Big Sing song, or some other major type of song; it’s all meat, no filler.
The plot is both incredibly high-stakes (nuclear war in the theater!) and also light and farcical (accented singing spies, an elaborate comedic chase scene!).
The story moves briskly, and climaxes in an innovative, all-sung extended farce chase scene.
The show gives the audience and performers a major theater experience, as well as an intimate small theater/cabaret experience.
The show is about the love of musical theater, and the underdog triumphing. Who doesn’t love that?
Why is this practical?
The story of the show literally takes place at a small Off-Broadway theater. So there’s no set, and it even makes sense on top of another show’s set. It also takes place all around the theater (in the light booth, back of the house, above the stage), and can be adapted to take full advantage of the quirks of different spaces.
The main character of the show is the show’s actual light guy. He really runs the lights for the show!
We only need four actors and three musicians (and no additional light guy!).
There are minimal costumes (a tux, a cabaret dress, stagehand blacks, etc.)
Just a “bucket of props”.
The title, Nothing Like Broadway! should appeal to tourists looking for a smaller show, perhaps on a night when big Broadway shows are dark. The title should also pique serious theater fans’ interest.
We could move the show to various venues pretty easily. We could slightly adapt the staging (and maybe add a couple lines of dialogue, or alter a couple of couplets) if we want. But basically, this show is a movable feast.
Nothing is cheap in theater, but this show requires a lot less capital than most.
Why is this good for actors?
Each of the four parts has a lot of opportunities to show off. They are all potentially “star-making” parts with big character arcs. Each performer has multiple solos and duets, comedy showcases, as well as big vocal numbers. This is a show you invite agents and casting people to.
In an emergency situation, we could probably swap in a replacement if a performer became unavailable on short notice. (They could actually be on-book for the in-world cabaret numbers.)
Why are the songs good?
“Old fashioned” craftsmanship and showmanship. All of the rhymes are perfect rhymes. Every lyric scans to the music without fail. The songs are melodic and digestible. There is a wide variety of styles.
The songs are all performance-based. So they should each be fun to watch (even out of context). They also move the story along, so in context, they’re even better.
Would we go after “name” actors?
It’s not necessary. But if we wanted to slot in a name actor (for example, for the character of Kishka) for a limited time, it wouldn’t take that much rehearsal. These could be Broadway names, or even (talented) names from other media. This could be something that happens down the road, or from the get-go. It would be promotable, and a reason to see the show for a second time (and bring friends!). But again, this show works with super-talented unknowns.
Why is this a good career “foot in the door” show?
This show is a showcase for the writer, performers, producers, and marketers. The whole impetus for the show was to see how much we could do with how little. How creative can we be? How “big”? How much theater magic could we create using only ingenuity, tenacity, and gaffer tape. The production and marketing of the show should follow suit. It’s an exciting opportunity for everyone involved to show the world what we’re capable of. Getting a “buy in” from potential fans via social media is a major part of what would make this show successful. Also, even if we run for only three months of Mondays Off-Broadway, we have a legitimate Off-Broadway credit for our show. And… once we have that imprimatur, this would be a great property to license and/or produce in other cities regionally. Although ideally, we could move into an open-ended eight show a week run Off-Broadway, too.