A Kingdom of Glass
– A Epic Fantasy Musical –
The cast of a grand Broadway spectacle watch their world fall apart, their own fragile lives—full of ego, doubt, and hidden dreams—are exposed like shattered glass.
The cast and crew of the long-running and beloved Broadway spectacular The Kingdom of Glass, are left stunned when an unexpected public announcement declares that tonight’s performance will be the show’s final curtain call. The production is being shut down immediately, the theatre scheduled for demolition due to fire safety concerns, and the sets and costumes set to be auctioned off.
Backstage, chaos erupts. Panic spreads as actors, stagehands, and creatives grapple with the sudden end of their careers. Management shifts blame to investors and city regulators. A modest severance package is offered—but for most, it’s little more than pocket change. The company is effectively cast out onto the street.
One week later, the company reunites for a final farewell party at the now-abandoned theatre. Just when all hope seems lost, a surprising offer emerges from a lifelong fan of The Kingdom of Glass, proposes a bold new vision — to revive the show as a stripped-back, traveling production, bringing the magic of Broadway to small-town America for the very first time.
Jesse Hart
– The Unexpected Hero –
Jesse Hart was never meant to be seen. A quiet, brooding followspot operator with a past full of hard knocks and darker days, Jesse found comfort behind the curtains — in the hum of lighting rigs and the anonymity of backstage life.
But when fate (and a casting emergency) yanked him from the shadows, Jesse was thrust into the role of Grumble, the heroic dwarven warrior — clad in paper maché armour and a fake wooden sword, Jesse was in his element.
With no formal training and a shaky grasp of the script, he stumbles through rehearsals, haunted by his past and on the verge of quitting. But in an unlikely twist of fate, he finds support in the form of an unexpected companion. As their connection deepens, Jesse begins to believe in something he’s never known — himself.
Sasha White
– Theatre Royalty, A Diva in Exile –
Sasha White once ruled the stage like a velvet-draped empress — the undisputed Queen of Broadway with a voice that could shatter glass and a glare that could freeze stagehands mid-step. As Elanora the Elven Queen in The Kingdom of Glass, she commanded standing ovations and demanded nothing less than absolute reverence.
But when the curtain abruptly fell on the production, Sasha vanished behind the gates of her opulent mansion, seeking comfort in vintage champagne and questionable prescriptions — the final act no one saw coming.
Now, clawing her way out of glittering oblivion, Sasha returns to the production only to find her throne usurped and her crown handed to her former understudy. Forced into the role of a humble elven ranger — a part she describes as “elf-adjacent peasantry” — Sasha seethes beneath every line of dialogue, turning even the simplest stage direction into a Shakespearean betrayal.
Terry Miles
– The Ego. The Accent –
Terrance “Terry” Miles of Shakespearean tradition, once the darling of regional repertory theatre (according to himself), Terry brings a booming voice, impeccable diction, and the emotional range of a thunderstorm to his role as the menacing Dark Wizard Morvar.
He also brings drama — and not just the scripted kind. Prone to storming off set in a cloud of indignation and cologne, Terry famously walked out on The Kingdom of Glass… only to return, humbled (slightly), after the modern theatre world proved less than enchanted with his vintage grandeur.
Now back in the cast and barely tolerating it, Terry remains a glorious relic of a bygone era. Though pompous, short-tempered, and endlessly self-important, there’s no denying the man can still command a stage — even if his offstage antics have everyone reaching for the nearest stress ball.
Roy Blevins & Carol-Anne Wren
Councilman Roy “Rusty” Blevins is Wilbur’s proudly incompetent guardian of God, guns, and gov’ment.
Rusty sees himself as the town’s last line of defence against moral decay. Flustered by words like “inclusive” and terrified of men in tight pants, he’s a armed with outdated ideals and a barely working rotary phone.
His wife, Carol-Anne Wren, is the pearl-clutching panic behind the power of the Bible. She views the arrival of a flamboyant theatre troupe as nothing short of spiritual warfare — interpretive dance, fantasy dwarves, and jazz hands included. Together, Rusty and Carol-Anne launch a hilarious holy crusade to “save” the town from sequins and sin.
- Music Demos -
What you’re hearing are demo tracks—rough sketches, not the final curtain call. These tunes are here to give you a taste of Kingdom’s musical world.
Credit
Music and script written by Eli Silverton, 2024.
Status
Script 50% complete · Music 20% written
Current Opportunities
A Kingdom of Glass is still at a very early stage of development, though we are in need of some specific help with songwriting and scripting.
We’re inviting support for:
• Script Writing Mentor fees
The complicated script requires professional script writing overview and mentoring.
• Workshop Readthrough
Support a live script and score reading with professional actors, giving us valuable creative feedback and momentum toward full staging.
If you’re interested in supporting this project—through funding, sponsorship, or in-kind partnerships—we’d love to connect.
Estimated development cost for this phase: $1,000 – $3,000, depending on service charges.
For smaller one-off contributions, we very much apprechiate donations through Buy Me a Coffee to help us take one step closer to the stage.
Development Goals
The Kingdom of Glass is a larger-scale community theatre production, designed for venues with more expansive staging capabilities and modestly higher budgets. It features a small principal cast supported by a full orchestra and rhythm section, creating a rich, cinematic sound that elevates the theatrical experience.
While the script and score are written with amateur theatre in mind, they are intended for performers with some experience—offering exciting challenges for community actors, musicians, and directors ready to stretch their skills. With its sweeping musical style and emotional depth, The Kingdom of Glass designed to deliver the same kind of experience audiences and performers love in productions like Jesus Christ Superstar, Wicked, or Phantom of the Opera.
Our goal is to develop a professional-quality production package—including script, full orchestration, multimedia assets, and staging guides—that can be licensed to theatre companies nationally and internationally. While designed for venues with larger capabilities, the show will include modular staging options and visual elements that can be scaled up or down, making it adaptable without compromising artistic impact.
