Clayton Howe’s Entertainmentx

Jina Panebianco Part 2: ”Caliwood Pictures”

Jina Panebianco (caliwoodpictures.com)(LI:@jinapanebianco) is an award-winning film & television producer experienced in development, budgeting, raising funds, and physical production. She is at home on set, handling the day to day logistics and the fine details to get to the big picture and always does so, with a wicked sense of humor and strong work ethic. In addition to A Nice Girl Like You, starring Lucy Hale, her current projects include the co-production bio-pic Lansky, starring Oscar-nominee Harvey Keitel (The Irishman, Reservoir Dogs) and Sam Worthington (Avatar); Shriver, starring Michael Shannon (The Shape of Water, Knives Out), Zach Braff and Kate Hudson; the road trip movie Ashes to Asheville, written by Charlie & Chris Frazier. Past projects include: The Matchmaker’s Playbook; the thriller Havenhurst; Jessica Darling’s IT List, based on the NY Times best selling book series; and A Cinderella Christmas. She is also a co-founder of PassionFlix, an OTT Digital Platform for romance novels, with a rapidly growing subscribership of over 30k.

Jina Panebianco Part 1: ”Breathe”

Jina Panebianco (caliwoodpictures.com)(LI:@jinapanebianco) is an award-winning film & television producer experienced in development, budgeting, raising funds, and physical production. She is at home on set, handling the day to day logistics and the fine details to get to the big picture and always does so, with a wicked sense of humor and strong work ethic. In addition to A Nice Girl Like You, starring Lucy Hale, her current projects include the co-production bio-pic Lansky, starring Oscar-nominee Harvey Keitel (The Irishman, Reservoir Dogs) and Sam Worthington (Avatar); Shriver, starring Michael Shannon (The Shape of Water, Knives Out), Zach Braff and Kate Hudson; the road trip movie Ashes to Asheville, written by Charlie & Chris Frazier. Past projects include: The Matchmaker’s Playbook; the thriller Havenhurst; Jessica Darling’s IT List, based on the NY Times best selling book series; and A Cinderella Christmas. She is also a co-founder of PassionFlix, an OTT Digital Platform for romance novels, with a rapidly growing subscribership of over 30k.

Townsend Teague Part 2: ”Teague Theatrical Group”

Townsend (LI:@townsendteague)(TW:@townsendteague)(teaguetheatrical.com)On Apple podcasts (Townsend's First Appearance )(Townsend's Second Appearance)is a respected voice in company formation, organizational development and the emerging relationship between Broadway, technology and conglomerate-owned media companies. His theatrical career spans two decades, during which he has collaborated with many of the world's leading producers and creatives, and held senior positions on Broadway, touring and international productions, including titles presented in Canada, China, Indonesia, Japan and Singapore. As a theatrical General Manager, he has provided expertise budgeting, negotiating and overseeing operations for productions of An American In Paris, Annie, 42nd Street, Ghost, Bring It On, West Side Story and Priscilla Queen of the Desert. Prior to this, he was Company Manager for tours of Catch Me If You Can, Cats, the 25th Anniversary of Les Misérables, and Mel Brooks' Young Frankenstein and The Producers. Broadway credits include The Norman Conquests, Gypsy, The Producers and Radio Golf, for which he received a Tony Award and Drama Desk Award nomination as Producer.As an investor and/or advisor, he is involved with technology driven companies, including Arilyn, a content management system for creative brands and professionals to create, manage and publish augmented reality content; TodayTix, a digital ticketing platform for theatrical & cultural experiences, ProductionPro, a portal for creative collaboration in Film, TV and Theatre production; Winc Wine, an algorithm driven winery and official wine partner of the Barclays Center and Hollywood Bowl; and WindowsWear, a retail visual merchandising database and community.Townsend received a B.A. in Arts Management and is a certified member of the Association of Theatrical Press Agents and Managers. He happily volunteers time to various causes. A personal highlight is Broadway Bets, the annual poker tournament benefiting Broadway Cares/Equity Fights AIDS, for which he is a Host Committee member. He is an optimist!

Townsend Teague Part 1: ”The Past, The Present, The Future of Broadway”

Townsend Teague (LI:@townsendteague)(TW:@townsendteague)(teaguetheatrical.com) On Apple podcasts (Townsend's First Appearance )(Townsend's Second Appearance) is a respected voice in company formation, organizational development and the emerging relationship between Broadway, technology and conglomerate-owned media companies. His theatrical career spans two decades, during which he has collaborated with many of the world's leading producers and creatives, and held senior positions on Broadway, touring and international productions, including titles presented in Canada, China, Indonesia, Japan and Singapore. As a theatrical General Manager, he has provided expertise budgeting, negotiating and overseeing operations for productions of An American In Paris, Annie, 42nd Street, Ghost, Bring It On, West Side Story and Priscilla Queen of the Desert. Prior to this, he was Company Manager for tours of Catch Me If You Can, Cats, the 25th Anniversary of Les Misérables, and Mel Brooks' Young Frankenstein and The Producers. Broadway credits include The Norman Conquests, Gypsy, The Producers and Radio Golf, for which he received a Tony Award and Drama Desk Award nomination as Producer.As an investor and/or advisor, he is involved with technology driven companies, including Arilyn, a content management system for creative brands and professionals to create, manage and publish augmented reality content; TodayTix, a digital ticketing platform for theatrical & cultural experiences, ProductionPro, a portal for creative collaboration in Film, TV and Theatre production; Winc Wine, an algorithm driven winery and official wine partner of the Barclays Center and Hollywood Bowl; and WindowsWear, a retail visual merchandising database and community.Townsend received a B.A. in Arts Management and is a certified member of the Association of Theatrical Press Agents and Managers. He happily volunteers time to various causes. A personal highlight is Broadway Bets, the annual poker tournament benefiting Broadway Cares/Equity Fights AIDS, for which he is a Host Committee member. He is an optimist!

John Epperson aka Lypsinka Part 2 ”Don’t Let Fear Stop You”

Musician, playwright, and performer John Epperson, (lypsinka.com)(IG:@lypsinka)(TW:@lypsinka) who is better known as his lip-synching female alter-ego Lypsinka, was born April 24, 1955, in Hazlehurst, Mississippi. In 1978, after training in classical piano from a young age and attending Belhaven University (at that time Belhaven College) in Jackson, Epperson moved to New York City, where he took a job playing piano for the American Ballet Theatre and began performing in drag. Epperson’s character Lypsinka is a renowned drag artist who lip-syncs to the songs and dialogue of iconic screen sirens and to more obscure audio clips (such as a makeup application recording from the 1950s). Epperson has been praised for the pastiches of dialogue he creates, as Lypsinka’s shows bring new meaning to the lines she ventriloquizes through juxtaposition and gender reversal. One critic estimated that thousands of audio pieces are culled together for each Lypsinka show, calling them “expressionistic and hallucinatory one-act audio wonders.” By 1991 Epperson was able to pursue a career as Lypsinka full time, taking her shows around the country and receiving glowing reviews even from serious theater critics. Lypsinka’s blend of drag humor and performance art—in addition to her skill as a comedian—resulted in unique shows that appeal to fans of drag and comedy, as well as theater and performance art.
 
Lypsinka’s takes on Joan Crawford, Gloria Swanson, Bette Davis, Elizabeth Taylor, and Lauren Bacall have earned praise from critics and a fervent fan base. Her performances are complex and schizophrenic as she careens between emotional extremes cued by intense lighting changes and the sound of a ringing telephone. In shows like “As I Lay Lip-Syncing” and “The Passion of the Crawford,” Epperson creates a new narrative out of sound clips. Some of these pieces of audio are meant to be recognized by the audience, and some of them are not. Part of Lypsinka’s appeal is her ability to bring elements of drag humor and camp to her performances without disrespecting the figures she emulates—often the screen queens of Old Hollywood. Epperson refuses to bring sexist humor into Lypsinka’s shows, saying, “It’s so easy to do misogynistic drag humor” but he “deliberately trie[s] to avoid that.”
 
Epperson also works in theater and film outside of performing as Lypsinka, and he has played male characters onstage and in film. He has appeared in several feature films, including Black Swan and Kinsey. He referenced his roots in his update of Euripides’ Greek tragedy Medea, which he adapted to a Jackson, Mississippi, setting. In Epperson’s campy Southern Gothic version, titled My Deah, the protagonist who kills her children to get revenge on her husband. The New York Times wrote, “Although Lypsinka herself is absent from the stage in My Deah, Mr. Epperson brings the same deconstructive and reconstructive skills he uses to showcase that grande dame to his Mad magazine rewrite of Euripides. [H]e has found clever Deep South analogues for the workings of fate that ruthlessly hem in our desperate heroine.”
 
While Epperson has described growing up in small-town Mississippi as stifling, saying that he “felt like an alien” among his family and experienced bullying from his peers, Mississippi’s culture and artists have clearly influenced some of his work, from My Deah to the title for “As I Lay Lip-Syncing.” A gay bar in Jackson, Mississippi, was the first place Epperson remembers seeing drag queens perform lip-syncing routines, an experience that deeply inspired him although he did not begin performing in drag until he moved to New York years later.
 
Lypsinka is now considered a foremother of today’s most popular drag artists. She continues to appear and perform at drag events and fashion shows regarded by fans as a legend who influenced contemporary drag performance.
Lypsinka’s takes on Joan Crawford, Gloria Swanson, Bette Davis, Elizabeth Taylor, and Lauren Bacall have earned praise from critics and a fervent fan base. Her performances are complex and schizophrenic as she careens between emotional extremes cued by intense lighting changes and the sound of a ringing telephone. In shows like “As I Lay Lip-Syncing” and “The Passion of the Crawford,” Epperson creates a new narrative out of sound clips. Some of these pieces of audio are meant to be recognized by the audience, and some of them are not. Part of Lypsinka’s appeal is her ability to bring elements of drag humor and camp to her performances without disrespecting the figures she emulates—often the screen queens of Old Hollywood. Epperson refuses to bring sexist humor into Lypsinka’s shows, saying, “It’s so easy to do misogynistic drag humor” but he “deliberately trie[s] to avoid that.”
Epperson also works in theater and film outside of performing as Lypsinka, and he has played male characters onstage and in film. He has appeared in several feature films, including Black Swan and Kinsey. He referenced his roots in his update of Euripedes’s Greek tragedy Medea, which he adapted to a Jackson, Mississippi, setting. In Epperson’s campy southern gothic version, titled My Deah, the protagonist who cooks her children to get revenge on her husband batters the kids up in a fried chicken recipe. The New York Times wrote, “Although Lypsinka herself is absent from the stage in My Deah, Mr. Epperson brings the same deconstructive and reconstructive skills he uses to showcase that grande dame to his Mad magazine rewrite of Euripides. [H]e has found clever Deep South analogues for the workings of fate that ruthlessly hem in our desperate heroine.”
While Epperson has described growing up in small-town Mississippi as stifling, saying that he “felt like an alien” among his family and experienced bullying from his peers, Mississippi’s culture and artists have clearly influenced some of his work, from My Deah to the title for “As I Lay Lip-Syncing.” A gay bar in Jackson, Mississippi, was the first place Epperson remembers seeing drag queens perform lip-syncing routines, an experience that deeply inspired him although he did not begin performing in drag until he moved to New York years later.
Lypsinka is now considered a foremother of today’s most popular drag artists. She continues to appear and perform at drag events and fashion shows regarded by fans as a legend who influenced contemporary drag performance.

John Epperson aka Lypsinka Part 1 on ”Identity, Fear and Desire”

Musician, playwright, and performer John Epperson, (lypsinka.com)(IG:@lypsinka)(TW:@lypsinka) who is better known as his lip-synching female alter-ego Lypsinka, was born April 24, 1955, in Hazlehurst, Mississippi. In 1978, after training in classical piano from a young age and attending Belhaven University (at that time Belhaven College) in Jackson, Epperson moved to New York City, where he took a job playing piano for the American Ballet Theatre and began performing in drag. Epperson’s character Lypsinka is a renowned drag artist who lip-syncs to the songs and dialogue of iconic screen sirens and to more obscure audio clips (such as a makeup application recording from the 1950s). Epperson has been praised for the pastiches of dialogue he creates, as Lypsinka’s shows bring new meaning to the lines she ventriloquizes through juxtaposition and gender reversal. One critic estimated that thousands of audio pieces are culled together for each Lypsinka show, calling them “expressionistic and hallucinatory one-act audio wonders.” By 1991 Epperson was able to pursue a career as Lypsinka full time, taking her shows around the country and receiving glowing reviews even from serious theater critics. Lypsinka’s blend of drag humor and performance art—in addition to her skill as a comedian—resulted in unique shows that appeal to fans of drag and comedy, as well as theater and performance art.
 
Lypsinka’s takes on Joan Crawford, Gloria Swanson, Bette Davis, Elizabeth Taylor, and Lauren Bacall have earned praise from critics and a fervent fan base. Her performances are complex and schizophrenic as she careens between emotional extremes cued by intense lighting changes and the sound of a ringing telephone. In shows like “As I Lay Lip-Syncing” and “The Passion of the Crawford,” Epperson creates a new narrative out of sound clips. Some of these pieces of audio are meant to be recognized by the audience, and some of them are not. Part of Lypsinka’s appeal is her ability to bring elements of drag humor and camp to her performances without disrespecting the figures she emulates—often the screen queens of Old Hollywood. Epperson refuses to bring sexist humor into Lypsinka’s shows, saying, “It’s so easy to do misogynistic drag humor” but he “deliberately trie[s] to avoid that.”
 
Epperson also works in theater and film outside of performing as Lypsinka, and he has played male characters onstage and in film. He has appeared in several feature films, including Black Swan and Kinsey. He referenced his roots in his update of Euripides’ Greek tragedy Medea, which he adapted to a Jackson, Mississippi, setting. In Epperson’s campy Southern Gothic version, titled My Deah, the protagonist who kills her children to get revenge on her husband. The New York Times wrote, “Although Lypsinka herself is absent from the stage in My Deah, Mr. Epperson brings the same deconstructive and reconstructive skills he uses to showcase that grande dame to his Mad magazine rewrite of Euripides. [H]e has found clever Deep South analogues for the workings of fate that ruthlessly hem in our desperate heroine.”
 
While Epperson has described growing up in small-town Mississippi as stifling, saying that he “felt like an alien” among his family and experienced bullying from his peers, Mississippi’s culture and artists have clearly influenced some of his work, from My Deah to the title for “As I Lay Lip-Syncing.” A gay bar in Jackson, Mississippi, was the first place Epperson remembers seeing drag queens perform lip-syncing routines, an experience that deeply inspired him although he did not begin performing in drag until he moved to New York years later.
 
Lypsinka is now considered a foremother of today’s most popular drag artists. She continues to appear and perform at drag events and fashion shows regarded by fans as a legend who influenced contemporary drag performance.
Lypsinka’s takes on Joan Crawford, Gloria Swanson, Bette Davis, Elizabeth Taylor, and Lauren Bacall have earned praise from critics and a fervent fan base. Her performances are complex and schizophrenic as she careens between emotional extremes cued by intense lighting changes and the sound of a ringing telephone. In shows like “As I Lay Lip-Syncing” and “The Passion of the Crawford,” Epperson creates a new narrative out of sound clips. Some of these pieces of audio are meant to be recognized by the audience, and some of them are not. Part of Lypsinka’s appeal is her ability to bring elements of drag humor and camp to her performances without disrespecting the figures she emulates—often the screen queens of Old Hollywood. Epperson refuses to bring sexist humor into Lypsinka’s shows, saying, “It’s so easy to do misogynistic drag humor” but he “deliberately trie[s] to avoid that.”
Epperson also works in theater and film outside of performing as Lypsinka, and he has played male characters onstage and in film. He has appeared in several feature films, including Black Swan and Kinsey. He referenced his roots in his update of Euripedes’s Greek tragedy Medea, which he adapted to a Jackson, Mississippi, setting. In Epperson’s campy southern gothic version, titled My Deah, the protagonist who cooks her children to get revenge on her husband batters the kids up in a fried chicken recipe. The New York Times wrote, “Although Lypsinka herself is absent from the stage in My Deah, Mr. Epperson brings the same deconstructive and reconstructive skills he uses to showcase that grande dame to his Mad magazine rewrite of Euripides. [H]e has found clever Deep South analogues for the workings of fate that ruthlessly hem in our desperate heroine.”
While Epperson has described growing up in small-town Mississippi as stifling, saying that he “felt like an alien” among his family and experienced bullying from his peers, Mississippi’s culture and artists have clearly influenced some of his work, from My Deah to the title for “As I Lay Lip-Syncing.” A gay bar in Jackson, Mississippi, was the first place Epperson remembers seeing drag queens perform lip-syncing routines, an experience that deeply inspired him although he did not begin performing in drag until he moved to New York years later.
Lypsinka is now considered a foremother of today’s most popular drag artists. She continues to appear and perform at drag events and fashion shows regarded by fans as a legend who influenced contemporary drag performance.

Pam MacKinnon Part 2: ”Follow Your Bliss”

Pam MacKinnon (TW:@pammackinnon) is a Tony Award and Drama Desk Award winner and she is no stranger to the Bay Area, having directed Victor Lodato’s 3F, 4F at Magic Theatre in 2005 and Amélie, A New Musical at Berkeley Repertory Theatre in 2015.MacKinnon grew up in Toronto, Canada as well as just outside Buffalo, New York. She majored in economics and political science at the University of Toronto and UC San Diego, and briefly pursued a Ph.D. in political science, before turning to her other passion: theater.Since then, MacKinnon has become one of American theater’s most beloved directors, a supporter of new American playwrights, and a leading interpreter of playwright Edward Albee’s work. She is an alumna of the Drama League, Women’s Project Theater, and Lincoln Center Theater’s Directors Labs. She is also Executive Board President of the Society of Stage Directors and Choreographers (SDC).MacKinnon has directed multiple plays on Broadway, including Edward Albee’s Who’s Afraid of Virginia Woolf?, starring Tracy Letts, Amy Morton, Carrie Coon, and Madison Dirks. MacKinnon won a Tony Award for her direction, and the play received the Tony Award for Best Revival of a Play.
Other Broadway productions include Bruce Norris’s Clybourne Park (Obie Award for Excellence in Directing); Amélie, A New Musical; the world premiere of David Mamet’s China Doll with Al Pacino; Wendy Wasserstein’s The Heidi Chronicles with Elizabeth Moss; and Edward Albee’s A Delicate Balance with Glenn Close and John Lithgow.MacKinnon has also directed extensively off Broadway at Playwrights Horizons, Manhattan Theatre Club, and Roundabout Theatre Company, as well as around the country at Chicago’s Steppenwolf Theatre Company, San Diego’s Old Globe, and Washington, DC’s Woolly Mammoth Theatre Company.

Pam MacKinnon Part 1: ”Follow Your Bliss”

Pam MacKinnon (TW:@pammackinnon) is a Tony Award and Drama Desk Award winner and she is no stranger to the Bay Area, having directed Victor Lodato’s 3F, 4F at Magic Theatre in 2005 and Amélie, A New Musical at Berkeley Repertory Theatre in 2015.MacKinnon grew up in Toronto, Canada as well as just outside Buffalo, New York. She majored in economics and political science at the University of Toronto and UC San Diego, and briefly pursued a Ph.D. in political science, before turning to her other passion: theater.Since then, MacKinnon has become one of American theater’s most beloved directors, a supporter of new American playwrights, and a leading interpreter of playwright Edward Albee’s work. She is an alumna of the Drama League, Women’s Project Theater, and Lincoln Center Theater’s Directors Labs. She is also Executive Board President of the Society of Stage Directors and Choreographers (SDC).MacKinnon has directed multiple plays on Broadway, including Edward Albee’s Who’s Afraid of Virginia Woolf?, starring Tracy Letts, Amy Morton, Carrie Coon, and Madison Dirks. MacKinnon won a Tony Award for her direction, and the play received the Tony Award for Best Revival of a Play.
Other Broadway productions include Bruce Norris’s Clybourne Park (Obie Award for Excellence in Directing); Amélie, A New Musical; the world premiere of David Mamet’s China Doll with Al Pacino; Wendy Wasserstein’s The Heidi Chronicles with Elizabeth Moss; and Edward Albee’s A Delicate Balance with Glenn Close and John Lithgow.MacKinnon has also directed extensively off Broadway at Playwrights Horizons, Manhattan Theatre Club, and Roundabout Theatre Company, as well as around the country at Chicago’s Steppenwolf Theatre Company, San Diego’s Old Globe, and Washington, DC’s Woolly Mammoth Theatre Company.

Ryan Scott Oliver Part 2: ”This Too Shall Pass”

RYAN SCOTT OLIVER (ryanscottoliver.com) (IG:@ryanscottoliver)(TW:@ryanscottoliver) was called “the future of Broadway… a major new voice in musical theatre” (Entertainment Weekly) and is “shaking up musical theater with his dark, twisted and genius work … [Oliver] could very well be musical theater’s answer to an auteur filmmaker or a gothic novelist” (Huffington Post).He wrote the book, music and lyrics for Jasper in Deadland (book by Tony Award-nominee Hunter Foster) which was first Off-Broadway in a spring 2014 run, and then presented at Seattle’s 5th Avenue Theatre in May 2015;as well as Darling; Havana! (with director Warren Carlyle); Otherbody, a brief musical allegory; and Mrs. Sharp (read at Playwrights Horizons July 2009 starring Jane Krakowski, dir. by Michael Greif); and more.
Both Jasper in Deadland and 35mm: A Musical Exhibition are licensed worldwide by Samuel French, and have cast recordings on the Ghostlight/Sh-k-boom label. Oliver is a Jonathan Larson Grant Recipient, Richard Rodgers Award Winner, Lortel Award Nominee, numerous ASCAP awards, a Dramatists Guild Fellow, a guest lecturer at Harvard University, and the recipient of residencies at 5th Avenue Theatre, TheatreWorks Silicon Valley, Weston Playhouse, Cap 21, the York Theatre, Running Deer Ranch, Pace University, Harvard University, San Diego State University, Playwrights Horizons and more.
Off-Broadway and elsewhere: Disney Theatricals commission, TheatreWorksUSA’s We the People, Rosie O’Donnell’s Theater Kids, and cabarets worldwide. Additionally, he is the Director of New Musicals at Pace University in downtown Manhattan and the Artistic Director of the Pasadena Musical Theatre Program. His songbook, Music+Lyrics by Ryan Scott Oliver: Vol. 1, was published by Hal Leonard in 2011.  M.F.A. Musical Theatre Writing NYU; B.A. Music Composition, UCLA. Songbooks and sheet music available at ryanscottoliver.com.
Oliver is also currently at work on a new project for Universal Theatrical Group with Kirsten Guenther and a trilogy of new musicals about American desperation in war-time: the first, a southern Gothic thriller set in small-town Missouri, 1945 entitled We Foxes (commissioned by Broadway Across America);the second, a Civil War drama called Rope (commissioned by Grove Entertainment, 2015);and the final part, a contemporary “marriage play” called Three Points of Contact.His morbidly optimistic musings may be followed on all platforms.

Ryan Scott Oliver Part 1: ”This Too Shall Pass”

RYAN SCOTT OLIVER (ryanscottoliver.com) (IG:@ryanscottoliver)(TW:@ryanscottoliver) was called “the future of Broadway… a major new voice in musical theatre” (Entertainment Weekly) and is “shaking up musical theater with his dark, twisted and genius work … [Oliver] could very well be musical theater’s answer to an auteur filmmaker or a gothic novelist” (Huffington Post).He wrote the book, music and lyrics for Jasper in Deadland (book by Tony Award-nominee Hunter Foster) which was first Off-Broadway in a spring 2014 run, and then presented at Seattle’s 5th Avenue Theatre in May 2015;as well as Darling; Havana! (with director Warren Carlyle); Otherbody, a brief musical allegory; and Mrs. Sharp (read at Playwrights Horizons July 2009 starring Jane Krakowski, dir. by Michael Greif); and more.
Both Jasper in Deadland and 35mm: A Musical Exhibition are licensed worldwide by Samuel French, and have cast recordings on the Ghostlight/Sh-k-boom label. Oliver is a Jonathan Larson Grant Recipient, Richard Rodgers Award Winner, Lortel Award Nominee, numerous ASCAP awards, a Dramatists Guild Fellow, a guest lecturer at Harvard University, and the recipient of residencies at 5th Avenue Theatre, TheatreWorks Silicon Valley, Weston Playhouse, Cap 21, the York Theatre, Running Deer Ranch, Pace University, Harvard University, San Diego State University, Playwrights Horizons and more.
Off-Broadway and elsewhere: Disney Theatricals commission, TheatreWorksUSA’s We the People, Rosie O’Donnell’s Theater Kids, and cabarets worldwide. Additionally, he is the Director of New Musicals at Pace University in downtown Manhattan and the Artistic Director of the Pasadena Musical Theatre Program. His songbook, Music+Lyrics by Ryan Scott Oliver: Vol. 1, was published by Hal Leonard in 2011.  M.F.A. Musical Theatre Writing NYU; B.A. Music Composition, UCLA. Songbooks and sheet music available at ryanscottoliver.com.
Oliver is also currently at work on a new project for Universal Theatrical Group with Kirsten Guenther and a trilogy of new musicals about American desperation in war-time: the first, a southern Gothic thriller set in small-town Missouri, 1945 entitled We Foxes (commissioned by Broadway Across America);the second, a Civil War drama called Rope (commissioned by Grove Entertainment, 2015);and the final part, a contemporary “marriage play” called Three Points of Contact.His morbidly optimistic musings may be followed on all platforms.