The Broadway Theatre Project is an intensive training program for both high school and college-aged students that want to hone their skills in the industry of musical theatre. It was originally founded by Tony Award winner Ann Reinking, under the name The Musical Theatre Project of Tampa. Students accepted into the program are referred to as "apprentices" and divided into groups reflecting their dance experience, vocal/acting experience, and age for more individualized training. Classes are taken every day of the project, typically from 8:30am to 5:00pm with an hour lunch break, and block rehearsals for numbers within the final showcase are from 6:00pm to 10:00pm. Students not in block rehearsal continue with group classes for that time period.
Throughout the project, guest artists often visit to have a Question/Answer session with apprentices and usually give a master class during the day to share their knowledge of the industry. Guest artists have included Terrence Mann, Ashley Brown (former apprentice), Charlotte d'Amboise, Ben Vereen, Gregory Hines, Savion Glover, Julie Andrews, Patrick Wilson (former apprentice), Phylicia Rashad, Stanley Donen, Frank Wildhorn, Neil Patrick Harris, Jonathan Groff, and Tommy Tune.
The Broadway Theatre Project is held on the campus of the University of South Florida, where they are housed in suite-style dormitories for the length of the project and are not permitted to leave. The project concludes with a Broadway-themed revue at The Tampa Bay Performing Arts Center. The performances are notorious for being presented minimalistically, as students dress completely in black and perform on a bare stage with a cyclorama.
Famous quotes containing the words broadway, theater and/or project:
“... here hundreds sit and play Bingo; here the bright lights of Broadway burn through a sea haze; here Somebodies tumble over other Somebodies and over Nobodies as well.”
—For the State of New Jersey, U.S. public relief program (1935-1943)
“I want to give the audience a hint of a scene. No more than that. Give them too much and they won’t contribute anything themselves. Give them just a suggestion and you get them working with you. That’s what gives the theater meaning: when it becomes a social act.”
—Orson Welles (1915–1984)
“The trenchant editorials plus the keen rivalry natural to extremely partisan papers made it necessary for the editors to be expert pugilists and duelists as well as journalists. An editor made no assertion that he could not defend with fists or firearms.”
—Federal Writers’ Project Of The Wor, U.S. public relief program (1935-1943)