T and (Y)A
Listen to managing directors.
dictated but not read
I’m not a big “participater.” Like a lot of writers and filmmakers, I’m more of a sit along the edge of the room and watch what everyone’s doing and hope no one I don’t know sits down and starts talking to me. But when the managing director of Theatrical Rights Worldwide Lysna Marzani tells you to do something, you do it. And so last Wednesday, I boarded a plane to Atlanta to attend the TYA/USA Festival and Conference.
I wasn’t quite sure what to expect or who I’d see there. I knew a few of the attendees in an acquaintance-sort-of-way, and I knew my publishers would be there, so this wasn’t a total leap into the dark. But, nevertheless, this sort of thing is not my bag, baby.
But I resolved not to just be a fly-on-the-wall. I would do the things. I wouldn’t skip stuff just to go sit alone in my hotel room. I would take advantage and do the damn thing.
And I’m very glad I did.
And it wasn’t about the sessions I attended or the 4-5 plays for young audiences I saw or the cool folks I met or hearing Gloria Estefan talk about her new musical Basura about the Recycled Orchestra of Cateura and then seeing the Recycled Orchestra of Cateura perform and then seeing the invited dress of said musical that evening at Alliance Theatre.
The coolest part was honestly just spending 3 days in the same space as all these wonderful folks who create theatre for young audiences. It’s a specific blend of the theatremaker. Both more intense but also less intense. More energetic but less egotistic.
There is real magic in making theatre for young audiences. It may not win you any Tonys. And it may be dismissed as being “just for kids.” And the quality level may range wildly (unlike adult theatre that has a very consistent quality level). But it gives you a North Star throughout the whole creative process that really focuses. What I’m making is for tiny minds and hearts, so I better mean what I say and say I want I meant. I better stand behind every word of this thing becuase every TYA show is someone’s first show. And you never forget that first show.
In just hanging around the lobby (because I over-slept and missed the first session on the last day), I got to talking with a guy from L.A. who writes and licenses his own TYA shows directly to schools and camps. His name is Denver Casado, his company is Beat by Beat Press and (as it turned out) he wrote a musical called The Claw which my twins did last year at camp.
It was their first show.
And I fangirled over him so hard, showing him pictures of my kids in the show and gushing about what a great experience they had.
This seemed to take him slightly aback (as it would’ve me, if I’m honest).
But he was really taken aback when after lunch, I brought him a friend of mine who likewise loved The Claw.
Every TYA show is someone’s first show. And you never forget your first.
- Patrick, 6/3/26
Thanks for reading tales of the unknown penguin!
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pre-production
Can I Just Say?
Location scouting is underway for our shoot in July. The cast is assembled! The crew is (partially) assembled! The money is mostly also probably assembled! Stay tuned!!
now playing
The Little Things You Hear Together
This week, I’m back on the wonderful The Little Things You Hear Together podcast with Alex Asp, talking about the original cast recording for the show Bandstand. So if you’ve missed my take on cast albums in your ears, it is back with a vengeance!
LISTEN HERE: https://rss.com/podcasts/the-little-things-you-hear-together/2372240/
Episode notes
The talented and opinionated Patrick Flynn is back to discuss the 2017 Original Broadway Cast Album for Bandstand!
Music by Richard Oberacker, lyrics & book by Rob Taylor & Richard Oberacker, directed by Andy Blankenbuehler, with music direction by Fred Lassen and orchestrations by Bill Elliott & Greg Anthony Rassen.
Stream the album on YouTube.
Follow the podcast on Instagram or email littlethingsyouheartogether@gmail.com.
live on stage
The Velveteen Rabbit: A Toy Story
available through Theatrical Rights Worldwide
Roanoke College (Salem, VA) - February 18-20, 2027
from the vault
Great Day to Be a T.A.
The 48 Hour Film Project used to have this genre called “Musical/Western.” It was the most feared in the grab-bag. It meant your short film could be a musical, a western, or both. Everyone was terrified of pulling it.
We drew it in 2013, 2015, and 2016.
The third time (and final time because they changed the way the genres work), we decided that the fates wanted a musical from us and so a musical is what they got.
But how did I ever write a musical and then produce a full film of that musical in 48 hours?
By cheating.
No, not really.
A couple of years earlier, the wonderful Crash of Rhinos had drawn “Operetta” (a short-lived genre option) and showed me the way. I used pre-existing GarageBand jingles on my Mac and then wrote lyrics to those. They also showed me the other secret to doing a musical for the 48 Hour Film Project (and musicals in general): the plot has to be INCREDIBLY simple. Because the songs, while adding entertainment value, will eat time. And when you’ve only got 7 minutes, you don’t have time to spare.
We made the Best of DC that year and took home:
- Best Actress, Jenny Donovan
- Best Libretto*, me
- Best Choreography*, Morganne Davies
- Audience Award
Required Elements
genre: Musical or Western
character: Claire Cumberland, musician or singer
prop: paintbrush
line of dialogue: “She didn’t tell me.”
*These awards are not routinely given so that’s cool.
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