‘Verses & Voices’- 54 Below Nurtures Musical Theater Writers Part II

By Alix Cohen

“We were looking for artists who bring something new to the table, not just the songs.” (Alexa Spiegel) Broadway’s Supper Club, 54 Below, is vested in helping artists. Many musicals have had early exposure at the venue. Even before the organization transitioned to not-for-profit, it sponsored The Genesis Project, offering mentorship and opportunity to budding composers and lyricists last year, then New Writers at 54! January through March of 2025.

Development director Kathleen Germann followed involvement with that initiative by reaching out to Live Music Society. She secured a generous grant. “Our mission is to recognize and protect small venues and listening rooms across the United States so that live music can remain accessible to all,” the society declares. https://www.livemusicsociety.org/

The allotment supports Verses & Voices, helmed by Alexa Spiegel, which gives four early career musical theater artists financial aid, advice, and a show booking. The group will meet with artist-in-residence Joe Iconis, also available to counsel. Candidates were selected by 54 staff who are, as Alexa puts it, “plugged into the scene.” Most arrive from clubs rather than professional sources like the BMI and ASCAP workshops. They’re fairly young. All write music and lyrics, some write libretto, some are additionally performers.

Each writer receives a no-strings fee he/she/they will use to produce a single night at the club, paying for arrangements, rehearsals, musicians, back-up.

A pay-what-you-wish ticketing model without table minimum permits audience at every economic level as well as invited theater guests to enjoy original songs and/or selections from in-development musicals.

Alexa tells me the club has a hands-off policy unless asked. Each show will arrive at sound check with format and personnel arranged by the writer. Next time, the series hopes to set up an application process. I spoke with the four current artists.

Elizabeth Addison January 22, 2026 at 9:30

Elizabeth Addison decided on musical theater at 13 after seeing Rent. She has no theater and barely any music training. Like Irving Berlin, she can read “basic music”, but not write it. The artist records in the program Garageband and has all her songs transcribed.
Aside from a week long NYMF (New York Musical Festival) writing workshop and a BMI libretto class during the pandemic, there were no classes, how-to books, or writers’ biographies. Elizabeth watched American Theatre Wing and Dramatists Guild videos. She listened to everything. “It was necessary to get past the idea of what musical theater looked like…I learned on the job, building the plane as I was flying.”

Now 13 years sober, she openly tells me her 20s were spent as an alcoholic, a history about which she often writes. Dreaming of becoming another Jonathan Larson or Lin-Manuel Miranda, she got serious about musicals when someone serendipitously observed that she had songs in her based on a straight play with music she authored.

The artist’s first effort, This is Treatment, is based on her own life with “black and brown women recovering at a treatment center for addiction. It’s a form of narrative therapy…I was trying to understand myself and work through the challenge I’d faced.”
She self-produced and musical directed. “I needed to claim my seat.” (Echoes of Miranda’s “I am not throwin’ away my shot” – Hamilton) This is Treatment: https://youtu.be/PVzHa647wZw?si=ImJ_YaPLuTphHnxL

In January, Elizabeth will present excerpts from Chasing Grace, about a writer pursuing Broadway dreams with her musical Treatment. “It explores such topics as identity, addiction, recovery, trauma, healing and learning…to rewrite one’s own narrative and reclaim dreams.” So far, all the artist’s musicals have been about her own experience.

She tells me her nickname is “relentless.” Elizabeth applied for a Jonathan Larson Grant seven times. Others have been secured with focus and tenacity. Last year, in collaboration with Jim Nicola (former Artistic Director of New York Theatre Workshop), she channeled her passion writing the script for 92 Y’s Jonathan Larsen tribute.

During the initial run of Hamilton, Elizabeth wrote Miranda a 3 page letter describing how he inspired her, enclosed a CD of original material, and left it at The Public Theater’s security desk. Years later, he would read a draft of one of her shows and offer feedback. They had coffee. When she hits a roadblock, the writer reaches out to those she admires. Lisa Kron gave her advice on the second act of Saving Grace.

Elizabeth took acting classes and was a member of a traveling theater troupe eight years. She participates in artistic formats that speak to her convictions and just returned from New Zealand acting with a Maori company that presents recovery theater. “I spent time learning from them and participating in a way that was really meaningful.”

The artist mentors emerging writers through Maestra and Tada! Youth Theatre, and teaches storytelling for public speaking.

Germono Toussaint February 8, 2026 at 9:30

“If Stephen Sondheim and Quincy Jones had a baby- that’s my sound.” Germono Toussaint is a fascinating amalgam of experience and talent. Though he began as one, the Milwaukee-raised writer insists he’s not a performer. His path was circuitous. Instead of writing papers in grade school, he’d write skits.

Unable to afford tuition at New York’s AMDA (The American Musical and Dramatic Academy), Germono found himself in a local church playing keyboard, leading prayers and worship, then an ordained minister at 20. Seven years later, deciding the atmosphere restrictive and homophobic, he quit without having assumed religious responsibilities.“I started questioning everything when I left the church.”

As an undergrad, a first short theater effort was returned to him with the comment, “you’re a playwright.” Years of piano lessons helped songwriting follow organically. Germono’s initial foray into musical theater was provoked by a decision to investigate a family member’s long-time addiction. The young man was advised to talk with the founder of a halfway house called Nia Imani Family. He interviewed a dozen women. The result was Caged, written and produced in Milwaukee.

In 2004, he arrived in New York to attend NYU Graduate School for Arts Administration, wisely covering his bases by learning how to market/ raise money. “I didn’t really take myself seriously as a playwright.” He collaborated as composer on several musicals by Marcus Garderly, including one based on Fannie Hurst’s Imitation of Life and created the music and vocal arrangements for the musical Sisters.

Two of his own followed: The Anointed (a play) “is about spirituality and sexuality in the Black church.” Sonny’s Song, a play with music, is about his late uncle, a singer/songwriter with The Viceroys.

The BIG PROJECT, since 2018, is a musical called The Gatekeeper inspired by the work of West African, Malidoma Patrice Somé (1956–2021). Germono describes it as post-apocalyptic, the story of a world run by shadow government where ethnicities are separated. Legend declares “a Gatekeeper will be born to manage portals between the physical and spiritual worlds, balancing civilization, guiding people to their purpose.”

Somé’s writing featured Gatekeepers who did just that. That these were “same-gender loving and Queer spirit workers” drew the artist. The piece is enhanced with extended reality technology. Some characters are holograms. Seats will vibrate, tilt, heat up and cool down in an immersive dome. He works on “the Afro-Futurist musical” piecemeal. Several holograms, almost all the libretto and some choreography is completed.”I’m really excited about it. I just need 20 million dollars.”

Germono’s show at 54 Below will feature songs that explore sexuality and spirituality through a black lens. Two albums exist in addition to the shows. To say the artist is multifaceted minimizes straddling varied craft and subject.

“Out Loud” written by Germono Toussaint ; performed by Crystal Monee Hall
https://www.youtube.com/watch?v=xNCbvJScrZE&list=RDxNCbvJScrZE&start_radio=1

Tickets for both can be purchased at 54below.org/VersesAndVoices.