Curtain opens on a new musical molded by 麻豆传媒映画 students, faculty
The work of 鈥渇olk horror鈥� became a creative collaboration, with cast members shaping roles being played for the first time.
At 麻豆传媒映画, the developing musical, 鈥淭omorrow, the Island Dies,鈥� has evolved from page to stage through collaboration with the 麻豆传媒映画 Musical Theatre Initiative.
Over two years, the new musical by Ryan Scott Oliver, award-winning musical theatre composer and lyricist, underwent a transformation through a revision and workshopping process involving faculty, MFA musical theatre students, and undergraduates in the School of Theatre, Television, and Film.
What began as a one-act work returned to a two-act structure, with an ending director Stephen Brotebeck said is 鈥渇ar different than the ending that was brought to us.鈥�
The show opens May 1 for a six-day run at Main Stage Theatre (details below).
Oliver, known for his genre-bending and emotionally charged works such as 鈥�35MM: A Musical Exhibition鈥� and 鈥淛asper in Deadland,鈥� describes the creation of 鈥淭omorrow, the Island Dies鈥� as unfolding in numerous steps.
The creative process began in 2020 with an unexpected Facebook message from Chelsea Nicholson, a fan of his work and a fellow admirer of psychological horror writer Shirley Jackson. Nicholson had been following two collections of songs Oliver released, inspired by Jackson鈥檚 short stories, and the two soon became better acquainted.
Over the next year, Oliver learned Nicholson ran a musical theatre program at Samford University in Alabama and was interested in collaborating. 鈥淚 suggested writing a 'descendant' story, one that would share some DNA with Shirley鈥檚 work but be wholly original. And so the Island was born,鈥� Oliver said.
From that original Facebook conversation emerged a musical now described as a work of folk horror.
The premise is deceptively simple: a group of young people remains on an island about to be destroyed by a looming storm, and climate change has rendered it uninhabitable. When something unimaginable occurs, they are compelled to enact the roles of judge and jury.
Brotebeck said Oliver鈥檚 work stood out among a record of 308 submissions and three finalists for the new musical initiative. Faculty were drawn to the age-appropriate roles and the generational tension at the center of the story.
鈥淭hese folks are doing something that no one鈥檚 ever done before,鈥� he said, referring to the students bringing the revised version to life. 鈥淭here鈥檚 no video to look at. No famous people that have done these roles. That brings an exciting energy.鈥�
For Oliver, the show resonates with young people not only because it focuses on their age group, but also because it engages and opens the door to broader cultural conversations.
鈥淥ver the past decade, our world has wrestled with some hard truths,鈥� Oliver said. 鈥淵oung people have been at the heart of so much of that progress.鈥�
At the same time, Oliver explained rapid cultural shifts can create tension even within generations.
鈥淚 think the real challenge for all of us, in any generation, is learning how to hold strong convictions while still leaving room for grace. Progress and compassion don鈥檛 have to compete,鈥� he said.
Climate change is a punishing reality in 鈥淭omorrow, the Island Dies鈥�.
鈥淚t鈥檚 sort of a cautionary tale,鈥� Brotebeck said. 鈥淚f we leave this and it goes unchecked, this is what could happen.鈥�
Opportunity for students
For students, participating in a musical that was still under construction required flexibility and resilience. Roles changed; songs were cut.
鈥淥ne of the things we always say is we try to focus the piece as a piece of pedagogy,鈥� Brotebeck said. 鈥淲e are all here to serve the piece, to make the piece better.鈥�
For MFA student Rebecca Murillo, collaborating directly with Oliver has been a full-circle moment. As an undergraduate at Pace University, Murillo first studied musical theater writing with Oliver, making the opportunity to now develop one of his works especially meaningful.
鈥淚t is a gracious experience to work in tandem with the playwright and composer because you get to ask the questions in real time and collaborate on who these characters are,鈥� Murillo said.
Working closely with Oliver has also allowed her to shape her character, Widow, through ongoing conversations about the story and its themes.
鈥淕etting to mold Widow with Ryan鈥檚 guidance has been monumental especially because she is a character that, originally coming into it, felt outside of my comfort zone, let alone is so opposite from my natural demeanor,鈥� Murillo said.
Unlike established productions with decades of performance history, "Tomorrow, the Island Dies" offers no clear blueprint of how a character should present themselves, so student artists are granted the rare opportunity to explore their creative potential.
鈥淭he ever-changing nature of this process asks us to continue being curious about how characters function in the story, how relationships evolve throughout, and even how each draft of the ending supports the overall message,鈥� Murillo said.
Technically, the production is ambitious. Design MFA students built an enormous lighthouse that anchors the set.
After two years in the making, 鈥淭omorrow, the Island Dies鈥� will be the result of a process that reflects its own themes of evolution.
鈥淢ining the material with Ryan as well as Rob Meffe and Stephen Brotebeck over the last two years has been monumental in building what will be seen on stage in May,鈥� Murillo said. 鈥淚t鈥檚 about uplifting how in the hardest and heaviest moments of life we must find strength and continue to grow.鈥�
鈥淭omorrow the Island Dies鈥� runs in the 麻豆传媒映画 Main Stage Theatre at 7:30 p.m. May 1鈥�6 with a 2 p.m. matinee May 3. .
