Tales From the O'Neill: A History of the National Music Theater Conference

By Sophia Saifi
26 Jun 2013

Paulette Haupt
Paulette Haupt

There is a sense of stillness at the Eugene O’Neill Theater Center. The paraphernalia of the puppetry conference has vanished, and rainy days have given way to rolling vistas of sunshine. Overnight the barn,  that for a week had housed gigantic pumpkin-headed ghouls, has been stripped bare and chairs, pianos and tables have been neatly laid out to for the National Music Theater Conference (NMTC).

The cafeteria has filled up with college students as the National Theater Institute’s summer semester has begun and they now have the have the chance to dine with some the cast and creative talent of the NMTC.

Now in its 36th year, the NMTC is still run by its original artistic director and co-founder, Paulette Haupt. She is a dominant presence at the conference, always hovering in the shadows as rehearsals progress.

"There isn’t a single reading I’ve missed," Haupt said. "Except for the one time I had a cold!"



Conversing with Haupt offers an education in the history of the O'Neill. We meet to speak on the porch of The White House (which is actually yellow) and she weaves the story of the NMTC.

In the spring of 1978, the founder of the O'Neill, George White, gave Haupt the task of setting up a conference similar to its flagship playwright’s conference that was tailored for musical theatre. With only a few months to prepare, she brought together a selection panel that included Pulitzer Prize winner Robert Ward as well as Ezra Laderman, Jack Beeson and Sheldon Harnick. Within the space of three weeks, they had already received eight applications.

"We didn’t have time to ask for recordings," Haupt said. "So we sat around a piano and we played through the scores of the eight pieces that we had been sent."

Fortuitously, the first piece that was picked was a folk opera version of Eugene O'Neill's Desire Under the Elms. With music and book by Joe Masteroff and Edward Thomas, the musical was the first in a line of many prestigious works that would be sculpted at the O'Neill.

A year later, while going through applications, Haupt stumbled across a musical called . She recalled  the moment she heard its music for the first time.

"I’ll never forget, I was on an airplane and I put a cassette into my Walkman and listened to Maury Yeston singing," she said.

was developed at the O'Neill and would go on to become the award-winning Broadway musical Nine. Other works in development over the years have included Violet, The Bubbly Black Girl Sheds Her Chameleon Skin, Avenue Q and In the Heights.

The NMTC has set the precedent for music theatre conferences across the country. Over the years, under the direction of Haupt, librettist and composers come to the O'Neill to cut down to the bare bones of their work.

 Continued...