By James A. Goins
Readings are a crucial step in developing a musical. If transitioning your show from script to stage were a road trip, a reading would be akin to a pit stop where you refuel, assess your route, and make necessary adjustments. Readings can occur at various stages of development, from initial script readings to pre-production checks to ensure the script is polished and ready for performance.
There are several types of readings, each serving different purposes depending on the stage of development. Understanding these types can help guide your process and clarify what to expect at each step. Here’s a breakdown of each type of reading and when they might be most useful:
Table Read 0/$
A table read involves sitting around a table and reading the script aloud. This is the simplest form of reading to organize and is essential at any stage of script development. A table read lets you hear your script read aloud for the first time, which can be invaluable for identifying issues and making initial adjustments. Starting with a table read is advisable if you’ve just finished a draft or completed a new version of your script.
Gather a few friends, assign them roles, and consider adding a thematic dinner to make it more enjoyable. For a basic table read, there’s no need for actors to learn the music; read the lyrics or play demos. If you're further along in the process, you might bring in professional actors. Prepare questions for post-reading discussion and be ready to take notes. Aim for constructive feedback, and approach it with a problem-solving mindset.
Basic Reading $ +/-
A basic reading involves inviting an audience to experience your script read aloud by actors who have learned the songs. This type of reading provides more detailed feedback, as the actors become more invested in their characters. It’s an opportunity to test the timing and pacing of your work, see how jokes land, and identify any areas needing adjustment.
You can self-produce a basic reading by securing a local theater space on an off-night, using music stands and a piano. Hiring actors is crucial, as their involvement adds value to the feedback you receive. After the reading, hold a talkback session with the audience to uncover potential plot holes or pacing issues.
Staged Reading $$ +/-
A staged reading adds a layer of movement and basic staging to the reading. Actors might move around, interact, and wear minimal costumes. This format helps you visualize the action and provides the audience with a clearer sense of the show’s style and tone. It’s particularly useful for helping both the writer and the audience understand how the show might look and feel.
At this stage, hiring a director is highly recommended. A director can offer a fresh perspective and manage the staging, allowing you to focus on observing and assessing the script. Staged readings are valuable for receiving crucial feedback and gauging the potential for future production.
29-Hour Reading $$ + (Learn More)
A 29-hour reading is a professional format that involves equity actors and adheres to the equity contract, limiting the total rehearsal and performance time to 29 hours. Typically held in NYC, this type of reading is a significant investment and should be pursued when you have strong guidance and are prepared for the expense. It’s a formal step that can provide critical industry exposure.
Concert Reading $$$ +/-
A concert reading focuses on showcasing the music in a concert format. Brief dialogue may be included to provide context, but the emphasis is on presenting the songs. This type of reading is less about development and more about marketing. It’s an opportunity to promote your show and build your brand. You might hold a concert reading in a local venue or even film the event for promotional purposes, provided you have the actors’ consent.
Workshop $$$ +
The workshop is a more intensive developmental step where actors perform off-book and the director begins choreographing and blocking the show. Workshops can range from a step beyond a staged reading to a near-production level. During a workshop, you may still be making changes, such as writing new songs or scenes. It’s a crucial phase for refining your show and preparing for full production.
Understanding these various reading types can help you navigate the development process of your musical. My musical journey has included multiple table readings, basic readings, staged readings, and a workshop production, demonstrating the diverse stages of development that can shape a show.
The main thing is to get it done. Get it read. Make corrections. Get it up! No excuses!!
Very insightful! Thanks, Jim