Collaboration - how does it work?

Learning from a couple of 88-year-olds. At the top of their game.

Before I jump in, I encourage you to jump in to our next co-writing hang — beginners and experienced songwriters welcome! RSVP for the Zoom on Sunday, February 15th HERE!

Writing with Dad

If you read the last one, you know that I am co-writing with my dad these days. That’s still ongoing, and I can’t tell you how much joy it is giving me. Okay, I did just tell you. (A lot.) It’s a busy time for me now, but I am squeezing it in with Pop in between…

Rehearsal rooms!

First day of rehearsal is always a treat to me. Definitely gives me the back-to-school vibe. Fresh binders, pencils, highlighters. If I’m doing a musical, new sheet music to learn, often on the first day. I am privileged to be in the room with people who are often way better than me - putting the bar a good bit higher for me to reach. I like that feeling.

Is my chair the messiest? Yes.

I didn’t know much about musical theatre growing up. My father is an actor, so I’d been to the theatre a good amount, but those were “straight” plays. I first encountered musicals as many of us did - in High School.

So I wasn’t weaned on musicals. Bluegrass, Folk, Blues, Jazz, The Beatles, Randy Newman, James Taylor, Bonnie Raitt - these were my musical North Stars. But I’ve gotten some amazing on-the-job training!

The Young Fella

I just finished a workshop of a new musical written by a young man, Andrew Bancroft, honoring his parents (who passed away last year). This guy wrote the music, book and lyrics to this original tale of how his parents met - and the winding, sometimes very difficult, road their relationship took. It was called “The Hustler and the Nun.” Perhaps you can imagine why it might have been a little bumpy for them…?

He crushed it. So brave and smart - he used the two weeks to learn from a really good director, John Rando, and a roomful of heavy hitters - including his remarkably gifted wife, Ashley Perez Flanagan (who I have worked with before - and even done a co-writing week with!). I count myself very lucky indeed to be in the company of young people often - I’m encouraged that there is so much energy and love for music and theatre and live performance - that there is a new generation of artists willing to commit so completely - and turn out such great stuff.

Most impressive was Andrew’s flexibility. He understood that others, like the deeply gifted and accomplished directer, wanted what was best for the piece. And he knew that when John suggested cuts, it was likely going to make it better. Which it did.

That’s not an easy thing to do - to let others wrangle work that means that much to you. That is indeed most impressive. There was a good deal of trust there - which of course, made it all possible.

The Older Dudes

And now - I’ve started work on a piece we are mounting here in NYC - About Time. It is written by two heroes of mine - who are octogenarians. But that’s just a long word for a big number (88, to be exact!) - and these two are still at it, still razor-sharp and co-writing new songs - like they have been doing since 1955, when they met in college. For those of you who ran out of fingers…that’s over 70 YEARS of writing together!! Sorry to yell, but holy cow, right?

Richard Maltby and David Shire are masters of the craft of songwriting. Richard is lyrics, David music. Occasionally there is cross-over, but that’s how it usually breaks down. They have deep individual credits, Richard as a director and lyricist, (Miss Saigon, Ain’t Misbehavin’ Fosse…) and David as a composer for film and television, (Norma Rae, The Taking of Pelham 1,2,3, All the President’s Men…). They’ve won plenty of awards, too - Tonys, Oscars, Grammys….

But in the musical theatre world they are best known as a songwriting duo. I’ve gotten to work with them frequently (Big, Take Flight, a number of workshops and readings and now, About TIme.) Their first show on Broadway was Baby, but their most produced pieces have been revues - song collections with minimal books. Their first was Starting Here, Starting Now and then Closer than Ever - both of which continue to be mounted worldwide.

Why they are good at this songwriting stuff

Well, the obvious answer here is VOLUME. Hundreds of songs written together. They also know where the heart of a song lives - and how to reveal it best. All the decisions they make are about serving the song - not preserving some clever lyric or fancy melody - but getting to what is most honest about what is being communicated. Being in a room where these two masters are shaping a song is…well, I’m a lucky sucker to get to witness it.

They shape and change - and often simplify - what the initial idea is. But they aren’t afraid to just take a run at it. Not worrying about making it perfect, they put it out there and learn from the song itself as it takes shape. They are wonderful collaborators in the room, too - learning from the performers what works and what doesn’t. They learn from the final collaborators, too - the audience. That input shapes decisions, as they learn, in previews, what needs more focus.

Musicals often have long gestation periods - seven years or more. This one went more quickly, as the technical elements are limited, the cast is small (six people) and there is essentially no book - but still, it has had eight presentations over the last few years and I have been around for five of them. Not for the faint of heart this musical-making!

Yes, you can come see this in action!

We’ll be doing this latest revue, About TIme - starting later this month and running through April 10th. If you’re in town and want to check out some quite funny and deeply accomplished songwriting, you can check it out HERE. And the theatre is…gorgeous. A gem of a house, just down the street from Lincoln Center.

Doesn’t it look like they did radio plays here I the 1940’s? (You are correct!)

And now…the Origami update!

Finally catching up… almost there! (These go out to folks who chip in to the coffee fund here. I also just like making origami and sending it to people!!)

A Fox for remarkable playwright and expert juggler Russell Davis; A Reindeer for dear longtime friend and co-captain of Creatives for Democracy with me, Jill Larson (Oh - wanna DO something about our situation right now? THIS is a great way to take care of that!); A Peacock for my long-time agent and good human, Marilyn Szatmary; A Capybara for snazzy dresser and wonderful director, Will Pomerantz; and a Golden Horse for my first founding member - and a queen of my heart, Betty Burkes.

Thanks for reading, friends. I hope there is some good music in your life.

And do come join us for a co-write on the 15th - it’s a hoot! RSVP HERE.