OUR PROGRAMS AND EVENTS

Since our start in 2017, we have developed and presented new works in many different formats. From play readings, to development workshops, to world premieres we try to partner each artist and their new work to the next best step in the long-term creative process we have developed.

Below are descriptions of each step in the creative process of a new work at Trademark. This list should give you a good idea of what you might see, the importance of work we do, and how you can participate in the presentation.

IN THE WORKS SHOWCASE

• What is it? 20 minute snippets of new works at the earliest stage of their development. 

• What does it look like? A presentation of rough ideas, images, and explorations that Trademark’s Commissioned artists have created while investigating a very young idea. Each 20 minute cutting could be highlighting text, music, movement or anything in between and in no particular order. 

• Think of it like: An amuse-bouche from the Research and Development department. 

• How long do they rehearse? Artistic teams and performers are given three-to-four rehearsals to experiment with the concepts and create 20 minutes of presentable material such as scenes, songs, or movement. 

• Why is it useful? This kind of showcase allows artists to try out their ideas before fully committing to a direction of their new work. At this stage we encourage artists to take big swings with their ideas and ask the big questions. Is there audience participation or do we keep the fourth wall? Does the music sound more rock-n-roll or indie-folk? Is a particular character 14 years old, or 40? Is movement a better way to convey the message than text? Exploring the limits of each new work helps to define what’s serving the story best. 

• How can I expect to participate? Sort of like a test audience. We’ll be listening to your in-the-moment laughs, gasps, and applause to see what’s working and what not. Attendees are also asked to answer questions in a written feedback survey about each 20 minute cutting while the event is happening. 

• Questions to expect: Was there a specific new work that interests you; why? What themes were present in each piece?  

WORKSHOP

• What is it? A 2-week process in which the commissioned artist works with a director and a cast of actors to explore, discuss, edit, and refine the script of a new work. 

• What does it look like? The process begins with actors reading the full draft of the script followed by an in-depth discussion about the new work in which the artist received critical feedback from the director, actors, and design consultants. From there, the artist will rewrite scenes, add new songs, change characters, and build brand new ideas for the cast to then read again. This process continues over many days, first sitting around a table, and later at music stands so the dialogue can be seen in physical space. 

• Think of it like: You’re on the Apple innovation team, working out all the new features of the iPhone 20 Pro. 

• How long do they rehearse? Typically, plays receive 35 total hours of workshopping time while musicals receive 45 hours. 

• Why is it useful? This is the most vital part of the creative process and where good ideas become great stories. Artists need concentrated time to cultivate their dialogue and lyrics, refine their characters, and build their worlds with the engagement of talented actors, directors, and design consultants. Providing artists with essential space, time, and resources to focus solely on their artmaking leads to the most innovative and daring new works for audiences like you. 

• How can I expect to participate? This is a private offering to our artists, however, nearly all of our workshops culminate in a staged reading (see below!) which invites audiences to hear the final draft of the new work as a result of the workshop process.

STAGED READING

• What is it? A formal presentation of a script read aloud for a live audience. 

• What does it look like? A cast of actors will stand before music stands performing the script from beginning to end. There is minimal staging, a handful of lighting and sound cues, and little to no costuming. This presentation is really about learning how the story plays in front of an audience, rather than any theatrical bells and whistles. This event always comes at the very end of a workshop process. 

• Think of it like: A live recording of your favorite podcast.

• Why is it useful? Readings are an integral piece of the new works development process because it gives artists the opportunity to try out their new play or musical in front of a live audience before adding all the production elements.

• How can I expect to participate? Readings are where you are most impactful to our artmaking. We ask for your input in three different ways. First, enjoy the play or musical! We’ll listen for your cheers, laughs, and (hopefully not too many) yawns to help influence the future of the piece. Second, we’ll ask for your feedback during the reading via a written feedback form that will accompany your program. Lastly, and for those die-hard theater folks, we’ll hold a post-play discussion where we’ll ask very specific questions of the audience to help us refine the new draft of the new work. 

• Questions to expect: Which character’s journey was the clearest? What songs felt most impactful? What aspects of the show confused you? What questions are you left with? 

WORLD PREMIERE PRODUCTION 

• What is it? A brand new, never before seen, fully produced, play or musical. 

• What does it look like? Actors! Sets! Costumes! Props! And lights! This is a bonafide, fully staged, new play or musical for our Twin Cities audiences. The very first production of a new story for the stage. 

• Think of it like: The hippest Opening Night in town!!!

• How long do they rehearse? 4 to 5 weeks of rehearsal, followed by 4 to 5 weeks of performances.

• Why is it useful? This is what we are aiming for, all the way back to the beginning of an idea. New stories on the stage are culture generators. They bring audiences, artists, and art together in a live experience meant to entertain, inspire, and challenge each of us; innovative, daring, adventurous stories that break the mold and forge new ground. New stories generate community, new ideas, new perspectives, and new experiences for the general public, thereby creating a richer, more vibrant, and active community. 

• How can I expect to participate? Kick back and enjoy the show! Should you want to learn more about the new work and the artists who make them, we hold post-show talk-backs, artist happy hours, and donor gatherings during every production run to deepen our connection between artist and audience.  

And here are some lesser known programs and events that Trademark uses when a new work’s creative needs fall outside of the traditional development process.

WHAT IF WEEK

• What is it? A concentrated week of exploration, usually through improvisation, ensemble devising, or in-the-room creation to explore the artist’s idea before pen is put to paper.

• What does it look like? It can look like anything. A buzzing rehearsal room filled with dancers; musicians jamming in a circle, designers pouring over research books, actors improvising scenes over and over. In any case, you will find artists in deep collaboration with one another. 

• Think of it like: Making up a new game during recess with the coolest kids on the block. 

• How long do they rehearse? What if weeks are made up on 4-to-8 days over 1-to-2 weeks, depending on the artist's needs. 

• Why is it useful? Many artists don’t like to start with writing a script. They need other artists to dream with, or space to explore in, or designers to bounce ideas off of to give their ideas shape and form. At the earliest stages of creation, this kind of artistic support can be invaluable and often leads to the most innovative and audacious new works. 

• How can I expect to participate? This is a private offering to our artists. You’ll hear about it in our newsletters and on social media. 

TABLE READING

• What is it? A read through of an early draft of a script. 

• What does it look like? A casual presentation in which actors sit at a table and read as characters from the script. In lieu of lighting, props, costumes, and sound cues, a reader will recite stage directions to give you an idea of the world of the play. 

• Think of it like: You’re watching Stephen King read the first chapter of his new book at Barnes and Noble. 

• How long do they rehearse?  Table readings are a one-day-only engagement. 

• Why is it useful? This is most useful in the early development process of a new work, or when a writer has made significant changes to a previous draft and needs to hear it out loud. While a short amount of time, this kind of reading can be invaluable to learn how broad themes, character arcs, and possible edits to scenes can impact a small audience. 

• How can I expect to participate? Usually offered exclusively to our donors. After the reading, you may be asked for general feedback in a casual, open group discussion. 

• Questions to expect: What resonated with you? Were there any things that confused you? What characters were you most intrigued by?

WORKSHOP PRODUCTION

• What is it? An in-process presentation of a new play or musical that combines script, score, and staging elements. 

• What does it look like? Often taking place in a studio or multi-use space, workshop productions are like suped-up rehearsal processes that feature staging, movement, music, and sometimes lighting and scenic elements. Often these processes focus on significant conceptual or choreographic elements and how they might work in a theater or on stage. You may see the full play or musical in this setting, or you may only see an act or cuttings from the work that highlight specific elements. 

• Think of it like: An exclusive invitation to the beta test of a new play or musical.

• How long do they rehearse? Between 2 and 3 weeks of rehearsal, culminating in 1 or 2 weekends of performances.

• Why is it useful? Workshop productions are used when the new work has significant conceptual elements that need to be explored before bringing them into a formal rehearsal, tech, and performance process. This helps artists, directors, choreographers, and designers suss out the challenges of their ideas before entering formal production planning and designing . This in turn keeps actors, technicians, and stagecrews safe. It is a time where teams can boldly explore without the pressure of an opening night. 

• How can I expect to participate? You will be invited to hear directly from the creative team about their developing new work before enjoying the in-process performance. As with many in-process presentations, your presence is the most valuable; your in-the-moment reactions will affect how the new work evolves. After the performance, you may be invited to share general thoughts about the play or musical, specifically regarding the staging, design concepts, and overall story. 

• Questions to expect: How did the design concept make you feel? Does the movement feel in the same world as the dialogue or music? What do you want to see more of?