Your invitation to support this powerful new theatrical work as it moves toward the professional stage.

War Bride of Mormon County is moving toward professional production in Manchester, England. If it’s been a while since we’ve talked, or since you read the script or saw a reading, a synopsis is below. I’m also happy to send you the full script.

I hope you will help make this project a reality and become part of my community of supporters.

What is happening?

A 2-step process.

Step 1: a week of workshopping and a staged reading with professional actors.

Step 2: a full professional production in 2025 or possibly early 2026.

I have assembled the key England team —

• Hannah Tyrrell-Pinder, director; exceptional and highly-recommended director.

• Megan Brewer, consulting producer.

• Chris Grady, producer mentor; Chris is a legend in UK theatre production.

A weeklong workshop and and staged reading with professional actors will ensure the script is ready prior to moving toward full production. The reading will also build further awareness of the project with Manchester’s creatives, and another essential aspect: it begins building relationships with community partners who will be an essential part of the show’s success (see Community Partners below; all are in varying stages of engagement).

Manchester is a major TV and film production center in the UK, providing a deep pool of artistic talent. We are casting only professional actors, and paying industry rates to do so. We intend to cast a British “name” actor for at least one of the main roles.

The reading is currently slated for Nov. 22, 2024, pending all financing.

How is it being financed? The cost to produce the workshop/reading is approximately USD $12,000. I have applied for, and anticipate a grant from Arts Council England that will cover half of that expense. The remainder will be from private donations, with some from in-kind contributions of rehearsal and performance space in Manchester.

In the event that the the grant funding does not come on the first round, the reading will be delayed into 2025 allowing for time to address the Council’s concerns and re-apply.

While $6000 may seem a small amount for a grant request, the intent is that this will put the show on the Council’s radar, and demonstrate that the public’s funds are well spent, improving the probability of much larger grants to support full production, which is anticipated to have a budget of apx. $150,000.

How much are you asking me for right now? I am looking for donations/gifts of $1000 and up. (Of course, smaller amounts help, too).

I would be delighted if you feel compelled to donate the entire $6000 currently needed!

If the total amount donated exceeds the amount needed for the reading, excess funds will be held in the project’s account for use toward future full production(s). Overall, you will be helping the project through the industry term: “front money.”

What is the money being spent on? The bulk of the expense is payroll, including the director, seven actors (including mandatory government requirements), all at industry standard rates which strengthens access to top talent, and producers. Lesser expenses include script printing, signage, and miscellaneous administrative expenses.

What’s in it for me? If you are new to helping theatre get produced, welcome! It is a fascinating world to become a part of.

• Bragging rights! You can tell people that you’re helping produce theatre. And you’ll want to tell them because it’s really cool. And perhaps they’ll want to get involved at too.

  • Donations under $1000: You and a guest are welcome to attend the reading in Manchester. Recognition on the official show website.

  • Donations of $1000-2999: all above, plus you are welcome to observe one day of the workshopping, and 2 tickets to any performance of the eventual Manchester production of the show. You will also receive updates including: grant status, casting, venue happenings, and Randall’s musings on the process. You will also receive access to the video recording of the reading.

  • Donations of $3000-5999: all above, plus dinner with the playwright in Manchester or when we are both in the same location.

  • Donation of $6000+: all above, plus you will be on the guest list for the opening night performance and opening night party of the eventual full Manchester production.

• All donors who participate in supporting the workshop/reading will have first right to participate in funding the full production.

• You will be helping to tell a really important story on topics that are often swept under society’s rug.

• Every show starts out with early financing, or “front money.” You’ll have pride in being a part of that. There is no financial return to you on this project (that’s essential to remember).

Why Manchester? The story is as English as it is American. While the story takes place in Utah, USA, the protagonist of this play is “from” Manchester. The British attitude toward live theatre—especially plays—is much more open; the Brits grow up with theatre. Plays that succeed in the UK are often highly regarded by US producers and audiences. Thus workshopping, reading, and premiering the work there may help its odds of future high-level production and licensing in the US and internationally. Additionally, the cost of producing the reading and eventual premiere in the UK is approximately 1/3 what it would be in the US.

Tell me about development to date:

• 2021 Online reading for invited audience; 2023 partial reading hosted by NYC’s Houses on the Moon; other private sectional and full readings.

• The play has been through extensive professional dramaturgy under Dominick LaRuffa Jr. in NYC, and Rob Ward in Manchester, England.

• The play was a finalist for the TRU Voices reading series, NYC, 2024.

• In spring 2024, Hart Theatre Co. of Salt Lake City, did two nights of staged readings. The general consensus from actors and audience: this story needs to be told and heard. The script generally “works,” and the majority of attendees said they would return for a full production if offered. Based on several factors, I have decided not to further pursue a Utah production until the play has had substantial professional productions elsewhere.