BOOK MUSIC & LYRICS Faces Urgent Fight For Survival

For the past 15 years, this professional development programme has been the hidden engine behind some of the UK’s most exciting new musicals, training composers, lyricists and librettists while maintaining an approachable, community-driven ethos. Now, due to unforeseen venue closures and a tough fundraising climate, BML is on the brink of shutting its doors—unless supporters rally to raise the £50,000 needed to secure its next year of operations. If you love musical theatre, it’s hard to overstate the importance of keeping this pipeline of creativity alive.

Nurturing Tomorrow’s Musical Theatre Creators

BML isn’t just another after-work hobby class for budding artists; it’s the UK’s only professional development programme dedicated solely to fostering collaboration among composers, lyricists and librettists. Since 2010, the organisation has hosted weekly workshops where industry newcomers can hone their craft under the guidance of established professionals. Veteran mentors share hard-earned insights, while participants from all backgrounds learn from one another in a supportive atmosphere.

While other theatrical training programmes often offer general courses in acting or theatre production, BML is rare in its laser focus on the musical’s core elements: the score, the lyrics, and the book. Aspiring composers learn to write orchestrations that evoke deep emotion, lyricists discover how to craft concise yet impactful storytelling, and librettists tackle the challenges of dialogue and structure. In short, BML is all about making the magic that happens when characters burst into song—and doing it well enough to stand out in a global musical theatre market brimming with blockbusters like PHANTOM OF THE OPERA or WICKED.

A Proven Track Record

If the success stories emerging from BML are any indication, its model clearly works. Take Liz Carr, known for ASSISTED SUICIDE: THE MUSICAL, or Darren Clark, whose musicals THE CURIOUS CASE OF BENJAMIN BUTTON and THE WICKER HUSBAND have made waves on the British stage. Meanwhile, Richy Hughes and Luke Bateman have delighted family audiences with OY FROG and MR POPPER’S PENGUINS, and Poppy Burton-Morgan—the creative force behind IN THE WILLOWS—has garnered significant acclaim for her imaginative storytelling.

Another noteworthy team includes Michael Conley, Joe Finlay, and Richy Hughes, whose show SUPERHERO captured the hearts of audiences looking for fresh, modern musical theatre. BML’s alumni list reads like a who’s who of emerging British talent, and that’s not even touching on the multiple awards they’ve racked up, including the first three Stiles and Drewe Mentorship Awards and the 2020 Stage Debut Awards for Best Composer/Lyricist.

When you see that kind of trajectory—from humble workshop beginnings to the bright lights of major venues—you start to understand how vital BML is. As Darren Clark himself put it, having a musical in the West End was once a distant dream, but “it would never have happened without the skills, craft, support and community I gained from the BML course.” For those looking to follow in his footsteps, there’s currently no other place in the UK offering the same depth of training in musical theatre writing.

The Impact Of Venue Loss And Fundraising Pressures

BML’s predicament began with the closure of the Central YMCA club, where it had regularly hosted sessions. Losing a consistent venue would be a challenge for any arts organisation, but for one that thrives on in-person collaboration, it’s especially dire. With a new location still to be secured, and costs for space rental on the rise, BML needs additional resources just to keep its core activities afloat.

Compounding this is what BML calls “the current fundraising climate.” As any UK arts charity will tell you, donor resources aren’t as free-flowing as they once were. With living costs on the rise and economic uncertainties causing funders to tighten their belts, organisations of all sizes face fierce competition for grants and sponsorship. While BML has always tried to keep course fees low to ensure accessibility—a single year’s fee covers less than half of the operating costs—that means it’s heavily reliant on donations and philanthropic support. For 15 years, a balance of modest fees, vital donations, and occasional grants kept the machine running. Now, that equilibrium risks collapsing unless £50,000 is raised soon.

A Commitment To Inclusivity

One of BML’s core principles is making musical theatre writing accessible to diverse voices. By keeping tuition fees intentionally low, more writers from varying socio-economic backgrounds can participate. On top of that, the organisation offers up to ten bursaries annually, ensuring that finances don’t stand in the way of budding talents who might one day pen a future classic on the West End—maybe even a show on par with LES MISÉRABLES or DEAR EVAN HANSEN. This ethos is particularly relevant at a time when theatre is increasingly under pressure to reflect the communities it serves. Without BML’s bursaries, many promising talents could be lost before they even get started.

More than just a course provider, BML functions as a creative community. Many participants speak of the camaraderie they find there, a space where they can share works-in-progress and swap feedback, without fear of judgement. Jim Barne and Kit Buchan, composers of TWO STRANGERS (CARRY A CAKE ACROSS NEW YORK), credit the programme with giving them the confidence and technical grounding they needed. “It gave us the opportunity to take ourselves seriously as musical theatre writers, and provided us with techniques that we still think about on a daily basis,” they say.

Anyone who’s ever tried writing a show knows how lonely and daunting the process can be. Having a supportive network to bounce ideas off, troubleshoot tricky story arcs, and offer moral support during rewrites can make all the difference between a script that withers away on a hard drive and one that blossoms into a fully staged production. BML’s weekly meet-ups, underpinned by expert guidance, act like a creative incubator for those crucial first steps.

The Challenges Facing British Musical Theatre

Though London’s West End is renowned for glitzy large-scale hits and star-studded revivals, you don’t have to look far to see how challenging it can be for new British musicals to break through. Venue costs are high, and audience expectations—shaped by internationally recognised brands like THE LION KING or MAMMA MIA!—can be tough to meet without ample development resources. That’s why programmes like BML are vital: they serve as a rare, structured environment in which British writers can refine their craft, test out new material, and eventually bring something fresh to a saturated market.

On the flip side, the success of new musicals can be extraordinary once they find a foothold. Many West End hits—such as SIX—started out in small venues, only to become cultural phenomena. Some even cross borders, finding success in the United States, Australia, or across Europe. If BML fosters just one more breakout writer who can achieve that level of popularity, think about the positive ripple effect on UK theatre. Everything from job creation to artistic innovation benefits. But none of that can happen if BML ceases to exist.

(If you’re reading this from Australia, you’ll know your own theatre scene also benefits from the cross-pollination of new musicals. Productions like COME FROM AWAY, WICKED, and FROZEN have played to packed houses in major Australian cities, proving there’s appetite for fresh works and diverse voices all around the world. With BML’s track record for producing top-tier talent, it’s entirely possible that an emerging composer or lyricist from the UK could see their creation staged Down Under someday—a testament to how global theatre truly can be.)

Collaboration, Not Competition

One special trait that makes BML stand out is the collaborative spirit it fosters. Musical theatre isn’t a solitary art form—composers, lyricists, and book writers must work hand-in-hand to create a cohesive final product. BML’s workshop structure mirrors this synergy, with participants learning how to communicate effectively across disciplines. The result is a place where novices can rub shoulders with more experienced artists, forging connections that often turn into long-term creative partnerships.

In an industry where success stories sometimes focus on a single star or composer, BML takes a holistic approach. By emphasising teamwork, it prepares participants for the realities of professional theatre, where mutual respect and clear communication can be as crucial as raw talent. It’s that sense of mutual support which ensures that when one BML graduate succeeds, everyone celebrates—and grows.

Raise The Curtain On Hope

It’s heartbreaking to think that in a few months’ time, BML could disappear, taking with it opportunities for the next generation of UK musical theatre creators. The organisation has launched a fundraising appeal, asking anyone who believes in the power of musicals to help secure the £50,000 needed. A donation—no matter how large or small—could keep the programme running into next year, and in doing so, keep the spark of British musical theatre innovation alive.

So if you’ve ever found yourself tapping your feet to a new show tune or marvelling at the breathtaking originality of an emerging musical, consider paying it forward. After all, every big hit—be it on the West End, Broadway, or Sydney’s thriving theatre scene—starts life with a rough draft, a passionate writer, and a supportive community. With BML in need of urgent help, now is the time to lend a hand, ensuring that future hits can continue to emerge from the vibrant workshops that have already given rise to so many rising stars.

The story of Book Music & Lyrics is far from over; it’s just reached a critical point. By standing together, theatre-lovers have the power to keep BML afloat, safeguarding an invaluable training ground for fresh voices. If you believe in the magic of musical theatre—that alchemy of script, song, and sheer ingenuity—then this is your call to action. With enough support, BML can raise the curtain on a new act, one that continues to foster the brilliant minds poised to reinvent the art form. After all, every show needs a second act—and this one could be the most vital of them all.