Molly Bell is a creative entrepreneur who works both on the stage and off. She is the writer of Real Housewives: The Musical and also Becoming Britney, which she conceived and co-wrote with Daya Curley, and premiered at The New York International Fringe Festival, where she also won best actress.
Molly consults with businesses such as Netflix, Fleet Feet Sports, PWC, and eBay, creating original songs and sketches for corporate events. She founded Divas For Life, a popular Bay Area concert series, raising money for families battling cancer. Molly is also the founder of Creative Habit Academy, placing performing arts classes and teachers in after school programs, and also runs her own private voice/acting studio for adults.
An Equity actress, Molly has enjoyed a long career in musical theater performing across the country. She is also a director and choreographer, and has her stamp on over thirty musicals and plays.
Daya Curley is an award-winning playwright, performer, director and filmmaker, based in the San Francisco Bay Area. She is a lifelong musical theatre geek, a Guinness World Record holder and a proud transgender woman. Her collaboration on Becoming Britney garnered an award for “best original script” and a nomination for Daya’s video projections.
As an actor, Daya was awarded “Best Performance in a Musical” by the San Francisco Bay Area Theatre Critics Circle for Irving Berlin’s Miss Liberty. As a filmmaker, along with her husband, Daya created ICON: Hangar One, a documentary short which won a W.A.V.E. award. Daya helped lead a team that broke a Guinness World Record for “Most Roller Coasters Ridden in a 24 Hour Period”. Her successful attempt was documented on The Discovery Channel in “30 Roller Coasters in 24 hours”.
She is a member of Actors’ Equity, SAG-AFTRA and The Dramatists Guild of America
Becoming Britney creative team Molly Bell and Daya Curley pose carefully for a seemingly spontaneous picture. No work is actually taking place here, but the black & white photography sure gives the scene an air of importance, doesn’t it?
Sometimes it pays to be a phony.
We often ask ourselves “Who do we think we are? What makes us think we can write a musical?” …and always end up with the same answer:
We have something sarcastic and inappropriate to share … and we don’t see why we shouldn’t make our annoying, harping, sophomoric voices heard.