Here is a list of all the sessions that were called on the day.

You will find links to all the reports that have been written up so far on the Devoted And Disgruntled event page.

If you called a session (or were a participant of one) that is yet to have a report please contribute your recollection of the discussion here.


The Sessions:

-Make Changes

Read the report

-How To ‘Seed Fund’ Experiments?

Read the report

-Why Does The Book So Often Fail?

Read the report

-‘Competition’ Does Harm

Read the report

-Pushing Boundaries

Read the report

-What Kind Of Training Makes For The Best Musical Theatre Writers?

Read the report

-It’s Irrelevant And Old Fashioned. No One Sings In Real Life. Why bother?

Read the report

-Existing And Emerging Opportunities: What’s Broken/Can Be Improved?

Read the report

-How To Engage With Corporate/Commercial Companies In This Process?

Read the report

-What Is The Goal In Developing Work?

Read the report

-Is It Offensive For A Woman To Call Herself a Drag Queen?

Read the report

-How Can We Better Support And Represent Disabled Artists?

-The Importance Of Collaboration: Finding The Right Team

-Is The Art Form Commercially Dead?

-How Do We Establish Better/Stronger Links Between Writers And Producers/Theatres?

-Is It Offensive For A Woman To Call herself A Drag Queen?

-How Accessible Is The Process Of Going From Concept To Production? What Are The Steps?

-Why Is There No Dedicated Publicly Funded Producing House For New Musical Theatre?

-How Do We Survive As Creatives?

-How Do We Capture Musicals? How Might That Change?

-Is There A Middle Ground Between A Workshop And A Full Scale Production?

-Is British Musical Theatre Too London-Centric?

-Should There Be More “Risky” Musicals?

-How Can Drama Schools And Universities Support New Writing (Beyond Workshopping)?

-Do We Need A New Name To Distance Musical Storytelling From Pointless Spectacle?