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Julia Meinwald is a New York City based composer who likes writing for musical theatre (and the occasional film and computer game score) and eating kimchi. Her musicals include PREGNANCY PACT, REB + VoDKa + ME, THE MAGNIFICENT SEVEN, THE LONELIEST GIRL IN THE WORLD, SOMETHING BLUE and ELEVATOR HEART. She and her collaborator Gordon Leary write aggressively empathetic shows that help them understand completely foreign points of view, like Anita Bryant's save-our-children crusade, online fan communities that formed around high school shooters, and groups of teenage girls who decide to get pregnant together. Julia's work has been produced at the Weston Playhouse and Diversionary Theatre, and developed through awesome groups like Ars Nova, the Civilians, Fresh Ground Pepper, the Dramatists Guild, Page 73 and exciting acronyms like 92Y, MTF, NAMT, NYMF, and YIMT.
The incredible Sam Heldt and I started a podcast in which we talk to actors, directors, and various multi-hyphenates who make new work. You can listen to us get our chat on here.
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Excited to share that Diversionary Theatre received a Frank Young grant from the National Alliance for Musical Theatre to do a workshop of Something Blue! Gordon and I are thrilled to have a chance to travel back to San Diego to work with the wonderful Matt Morrow once again.
Last summer I received a Discovery Grant for female composers from Opera America, supported by the Virginia B. Toulmin Foundation, to develop REB+VoDKa+ME in 2019!
Positive press for The Loneliest Girl in the World's world premiere at Diversionary Theatre!
Ingenious...Absorbing and smartly conceived new musical...One remarkable -- and admirable -- aspect of Loneliest Girl...is the generosity of spirit that writer-lyricist Gordon Leary and composer Julia Meinwald extend to their subject. Meinwald's score hooks a playgoer with all kinds of strong melodic lines, and meshes gracefully with...well-turned Leary lyrics. -James Hebert, San Diego Union-Tribune Witty and impassioned...The melodic score is moving without becoming rhapsodic, and its clever turns spoof the pop and political landscape of the '50s and '70s. -David L. Coddon, San Diego City Beat A groundbreaking, spectacular piece of theater. -Albert H. Fulcher, Gay San Diego |