UNIVERSITY PARK, Pa. — When John Simpkins arrived at Penn State’s School of Theatre in the College of Arts and Architecture more than a decade ago to lead the Musical Theatre program, he had a clear mission: Build upon its strong foundation and transform it into a distinctive, top-tier and highly sought-after training ground for emerging artists. To stand apart from peer institutions, the program needed something bold — something that would both challenge students and contribute meaningfully to the field.
One of the signature components to emerge from that vision was the New Musicals Initiative.
Through this initiative, Penn State hires professional writers to develop original musicals in collaboration with students. Over the course of workshops, readings, rehearsals and revisions, entirely new works are crafted — shaped by the writers’ imaginations, and the ideas, humanity and artistry of Penn State Musical Theatre students.
Simpkins said the value of new musicals for emerging professionals cannot be overstated.
“When students prepare for shows that have already been produced, there are many ways for them to review past productions and model their performance,” he explained. “New musicals require them to make choices from their own creativity, which is a skill they will need in the profession.”
He also pointed out that most productions opening on Broadway today are new works. What better preparation, he said, than immersing students in that very process while they are still in training?
“Making a new musical is hard,” Simpkins said. “It is our laboratory — where we gather data, test ideas and experiment with what art can be. It is where they learn how to work with writers and build relationships with professionals in the field.”
That laboratory is currently in full swing with “The Morris and Essex Line,” featuring music by Joshua Salzman and book and lyrics by Ryan Cunningham.
“With ‘The Morris and Essex Line,’ we are learning so much about the piece and what it says to the audience: it speaks to themes around success and achievement and sheds light on the idea of giving ourselves permission to shift or change course as we evolve and grow,” Simpkins said.
For Natalie Wiley, one of two students who plays the lead role of Carter, working on a new musical has been both exhilarating and transformative.
“A new musical is a piece that begins from scratch and is built entirely from the ground up,” Wiley said. “There’s no blueprint — no past productions to reference for how it should look, sound or feel. Instead, the work is shaped by the people in the room. Creativity and collaboration aren’t just important; they’re essential.”
Unlike revivals or established works, where recordings and archival footage can influence interpretation, this process demands originality, Wiley said, describing receiving new sheet music the day before a designer run or fresh script pages during tech week. Rather than viewing those changes as obstacles, she sees them as opportunities.
“It’s been illuminating to test how much information my brain can hold while still remaining present moment to moment,” she said. “You’re invited to bring more of yourself to the process — your instincts, your imagination, your specific choices — because those contributions help define the piece.”
That sense of ownership and experimentation is exactly what Simpkins hoped to cultivate, he said.
School of Theatre Director Kikora Franklin said she fully embraces the initiative, citing the importance of creating work that reflects the present moment.
“New works, whether they be musicals or plays, are the contribution our generation has for our time,” Franklin said. “I believe it is important for today’s artists to make work that draws upon the life experiences that are relatable and connected to the moment we are in. Future generations will learn about who we are and who we were through the stories we create.”
For writers, the experience is equally invaluable. Ryan Cunningham, who has spent the past three years developing “The Morris and Essex Line,” described the opportunity as "rare."
“The time, energy and care that has gone into the development of ‘The Morris and Essex Line’ over the past three years is immeasurable. There is no professional equivalent. You just don’t get the chance to constantly visit and revisit your work with artists who breathe life into it time and time again,” Cunningham said.
He praised both the students and the structure Simpkins has built.
“The students are incredibly well trained, and John Simpkins is masterfully versed in the development of new musicals. To be able to have an idea in my office one day and have a new song in the hands of capable, eager, talented young artists just a few days later is incredibly valuable for a writer. A program like this one at Penn State is a lifeline for a writer — and an important pipeline for the development of one of America’s most enduring art forms.”
For Wiley, the experience has also been deeply personal, she said. She spoke about a first-act number, “Throw That Mainsail High,” as a standout moment for her character.
“It’s Carter’s attempt to break free from the heaviness of her everyday life by stepping into a bold new persona,” Wiley said. “In the middle of her existential crisis, it’s a rare moment where she allows herself joy.”
Moments like these — discovered, revised and refined in real time — exemplify what makes Penn State’s Musical Theatre program a true laboratory for new musicals. It is a space where students are actively shaping the future of the art form.
Like peers in other disciplines, students involved in new works are engaged in investigating, gathering and testing — a process that allows them to help bring new art into being.
“At Penn State School of Theatre, we aim to prepare the next generation of artists and designers for success in the profession," Franklin said.
Cunningham stated that working on a true new musical gives undergraduates a distinct professional advantage.
“They learn to think on their feet, engage with artists and see musical theater as a living, breathing form. Now that’s something to sing about," Cunningham said.
The New Musicals Initiative is made possible through a gift from Peter and Ann Tombros. “The Morris and Essex Line” runs through March 6 in the Pavilion Theatre. Tickets can be purchased at this link.