Lenore Skomal and Rick Sayers (pictured above) create Broadway Bound Theatre Festival along with Abby Judd and Melissa Gordon.
Lenore Skomal is always asking questions. As a bestselling novelist, former journalist and playwright, she and her husband, Rick Sayers (a longtime newspaper editor) spent the better part of 2016 absorbed in mastering the art of theatre festival production, something she had not expected was so involved when she submitted to a New York City-based theater festival and was accepted along with 70-plus other participants.
The play, BLUFF, based on her bestselling novel, went on to become a finalist and receive critical acclaim. But it was the festival process that intrigued her. As a playwright, her work grew and evolved.
“The experience was so valuable,” she says, “but there was an enormous learning curve that can and is daunting for any new playwright.”
And as a producer, she quickly learned that putting a play up is an automatic crash course in production, marketing, fundraising, budgeting, management, planning, and more.
The BLUFF team sold out almost every single one of the three performances granted by the festival and then about 80% of the two extended performances.
You would think this would make them want to take a long break, but instead of jumping into producing another play, they went much bigger and decided to create an entirely new festival. Working with Abby Judd and Melissa Gordon, partners in Bear in Mind Creative—a company that provides general management and production for theater—she and her husband created Broadway Bound Theatre Festival, which will host its inaugural season at the Theatre at the 14th Street Y in NYC’s East Village. It may just be the game changer playwrights have needed for some time.
I sat down with Ms. Skomal to see what’s in store and she quickly recruited me to speak at her festival, but not before getting her to share her story about Broadway Bound.
Q: Tell us about this new festival. What’s different about it?
Lenore Skomal: Broadway Bound Theatre Festival is a new festival in New York City and the only curated theatre festival dedicated to transforming playwrights into producers. And that’s how we’re different. Unlike other theatre festivals in this city, which pretty much just accept your script and then leave everything up to you to figure out, BBFT is a community-building, joyous celebration of staged theatre. Our intent is to create collaboration between our playwrights, nurturing them as a whole as well as individuals, to foster the creation of friendships and reciprocal working relationships. It really is playing off the concept that when one succeeds, we all succeed.
Q: Why create yet another festival? What was your motivation?
Lenore Skomal: We’ve been thinking about this for a while—ever since we were involved in the festival this past summer. With the announcement that NY Fringe was not going to have a traditional season in 2017, we felt the timing was right to launch. All those playwrights need somewhere to go! I was lucky enough to have several seasoned veterans help me understand process of producing a play. One was Dewey Moss, a talented and seasoned director, playwright, actor and vocalist, who advised me along the way. Without him, I wouldn’t have known what to do. Everyone needs a Dewey Moss. BBFT is going to be that seasoned theatre vet for our playwrights.
Q: Tell us about the name “BROADWAY BOUND?” Why that name and what does the name imply?
Lenore Skomal: So many plays come to a screeching halt at the end of a festival. The playwrights don’t know how to take them to the next level. And there is virtually no guidance from the festival coordinators or directors to help them. We want to change all of that. We picked “Broadway Bound” because most playwrights envision Broadway as the brass ring—something to shoot for, so to speak. We want to help make their project commercially viable. While we’re not making any promises—because as most theatre folks in NYC know, there is no magic formula—we believe that our process will help turn any playwright with the desire and gumption into a producer. And make that as painless as possible. That type of experience is invaluable and can help a playwright develop clarity about what’s involved in getting their show to a bigger venue for a full run.
Q: Since it’s not a competition, what can participants expect? What about audiences? What can they expect?
Lenore Skomal: Firstly, since this is a collaborative festival aimed at educating, all applicants are given the reason from our panel as to exactly why their play was or was not accepted. A very new concept in the festival scene and yet, something very simple that every playwright deserves and is sure to appreciate. If selected — and we have made the festival small on purpose so we can be highly selective— participants benefit from our panelists hands-on expertise in the way of weekly information packets and videos on how to prepare for the festival (tips on everything from securing a rehearsal space, to casting, to getting butts in seats). During the festival each show is guaranteed three performances in a great theatre venue (The Theatre at 14th St. Y), which includes post-show feedback sessions from panelists and the community of playwrights, plus three developmental workshops from industry professionals, to mention but a few of our unique attributes.
As this festival is curated, the audience can expect top-notch shows that we guarantee have met our strict criteria, produced in a manner to ensure an first-rate theatrical experience.
Q: Tell us about the types of show you are looking to produce as part of the festival and why you prefer those types of shows?
Lenore Skomal: We accept 60 to 90 minute straight plays only. All genres are welcome, however, we believe that the playing field should be as equal as possible. Shorts can’t compete with full-length plays, and musicals shouldn’t compete with dramas. Simple as that. BBFT doesn’t have a theme, so any topic is acceptable. We encourage new work, so shows that have received prior commercial productions are not eligible (scripts which have held readings and workshops are fine).
Q: Aside from the requirements, which we can find online, tell us about the “type” of playwright you seek to work with. Describe your “ideal” playwright.
Lenore Skomal: Simple. Serious playwrights whose end point IS NOT just seeing their work on the festival stage. Those who want more and have the talent, grit and belief in themselves to get it.
Q What are you hoping or expecting will happen with some of your participants/plays?
Lenore Skomal: We want everyone to have a great experience, clearly, but our goal is to create a growing community of collaborative artists who cheer for each other’s successes as they continue on the path of creating great theatre for themselves and their audiences. We want our playwrights not to give up after the festival. We want to them to grow with us, as we create something that is much greater and more powerful than the sum total of its participants. I feel it’s what is really missing on the theatre scene. One massive, tour de force that works together, not at cross-purposes with itself, and can affect change.
Q: Any special message for prospective submitting playwrights?’
Lenore Skomal: Make sure your play is complete. BBFT is not designed for developing plays, though it often will serve that function just by virtue of going through the process. We are looking for completed works—your best effort.
For more information about Broadway Bound Theatre Festival please visit: http://www.broadwayboundfestival.com/
Submissions are open and being accepted until March 15, 2017.