For the Record(s) is something very rare – a musical almost ready for production (even a major production) only four years after its first time musical writer put pen to paper. Urlaub has given us a work that already borders on extraordinary, although it requires some tweaks to get it to the wonderful commercial vehicle it should be.

Most of the transitions are well done and the songs are clear and moving. Many Urlaub’s songs are written as point/counterpoint duets that many (most?) musical lyrists seem to have forgotten how to write while their musicals beg for them. The most negative thing about For the Record(s)s is that it is unlikely to see the stage as a full production without a major producer(s)’s support. The large cast (needing at least two major stars) and live band plus excellent production team required mean that it will cost at least $500,000 to do as a 10 day as Equity Showcase and about a million dollars to do with a proper 4-6 week Off-Broadway run.

Still, The shortcomings in the current script are significant and require that Urlaub address them. First, and maybe most important, is that the show currently lacks a hook. No successful stage show can be done without one. Currently, very near the beginning of the show Joshua is looking for a therapist. He finds 3 obviously incompetent ones before finding Liz who will remain his counselor and fellow adoptee advocate throughout the show. Urlach really needs a song that shows the bumbling and stumbling therapists singing about their “theories” and “helpful” suggestions. He then, either after the “therapists song” or blended with the therapist song,(after their first verse) needs a short transition to a song of Joshua and Liz finding each other and recognizing that their interests coincide and Liz’s competence. A scene of a young Joshua (8 or 9 years old) interacting with his very Jewish parents should be the scene that Record(s) opens with when the stage lights come up (maybe Joshua playing by himself before lights up) an appropriate upbeat instrumental should play in the background (probably red or purple LED lighting).

Some of the early scenes have transitions that are a bit too long, but that should be easy to address.

The other significant flaw is the ending. Currently, Urlach has Joshua becoming very pedantic and expository once the legislation allowing the opening of the records is signed. ALL of that has to go. The show’s penultimate scene should be with Joshua’s estranged adoptive parents joining with Joshua and his supporters just before the governor is ready to veto the legislation. The support of the adoptive parents needs to be the final push that convinces the governor to sign the legislation. It would be a good idea to give the adoptive parents a song recognizing their mistakes and simultaneously apologizing to Joshua. There wouldn’t be a dry eye in the house.

Then there can be a celebratory finale.

Major stars need to fill the roles of adult Joshua and probably the maternal Grandmother (someone like a Judy Kaye?)

The show does need to attract producers. Full readings are unlikely to get that done. Urlaub needs to allow one or two of the best songs to go viral – not protecting the copywrite. He needs a studio album. And he needs multiple concert readings at either 54below or Green Room42 in New York and somewhere in Los Angeles. He needs to invite top tier actors who are either adoptees or adoptive parents and top Broadway producers to see it. He needs to pay for the producers’ and a guest meals and/or drink minimums to make sure he gets them in the room,

This is a show that should have amazing legs once it is given an opportunity, but that opportunity will be hard to come by.