Broadway musical (within the musical) that the character Louise is performing in. It’s fun to play with blurring these lines.
Also, because I was examining themes of denial and honesty in the script, I wanted to explore these in the music, too—can some music sound more “true”? In this piece, I’m interested in music that feels raw and authentic as well as music that can charm or manipulate.
TS: What was the most challenging part of writing all the elements of this musical play? What part of your process was the most fun? DZ: I really do enjoy it all—the music, lyrics, and book. But the book is the most challenging part for me because it requires continual refinement. It’s also the element people will have the most opinions about. So it’s about letting all those opinions in—because some of them are incredibly valuable—while also staying true to your original intentions.
The most fun part of the process is when other people are in the room. With this piece, I had people in the room early on, which was great. We’d perform some of the songs at my gigs and did casual readings of the script way before it was ready for an audience. There’s only so much I can do by myself before needing to hear the words and music out loud. In my own bubble, I become too close to the material, and at a certain point my brain becomes mush, and I can’t see what I have. I learn so much from actors, directors, music directors, and dramaturgs.
TS: Please describe what the development process on this musical was like? What do you look for from your collaborators when working on a new musical work for the stage? DZ: We did the first staged reading in Los Angeles through the Foundation for New American Musicals. It was further developed at The Eugene O’Neill Theater Center, followed by a developmental production at Goodspeed Musicals. Next, we took it to NAMT’s Festival of New Works, after which I started working on it with the Roundabout team. There was also a production at the Marriott Theatre outside Chicago.
Developing a musical can be tricky because there are so many elements involved and so many people in the room. Sometimes it can feel like there are too many cooks in the kitchen. But especially as a solo writer, after so much solitary time, I’m eager for collaboration and guidance. So you just need to make sure you surround yourself with smart, sensitive collaborators you trust.
I first worked on the show with director Kristin Hanggi, who was very helpful in helping me figure out what I was writing. Now Michael Berresse and Jill Rafson continue to be a tremendous help. We toss around ideas, try things out, throw them away…it’s a puzzle. Working with a new director on a piece that you’ve been developing for a while can be eye-opening. Michael doesn’t have any attachment to past versions of the show, so he can just see it for what it is now. This is good for me—it allows me to see what I may be holding onto from earlier drafts that may no longer serve the piece.
In terms of music direction, I look for someone who innately understands what I’m going for and also brings new ideas to the table. I’ve been working with David Gardos as MD since the Goodspeed production. Matt Moisey has been my orchestrator since then as well. With orchestration in a small space like the Underground, it’s about making the most out of the minimalist set-up we’ll have, which is only three musicians. It’s fun to see a song change and blossom when it’s orchestrated. In this show, I think that’s particularly striking with what Matt has done with the songs that take place in the musical within the musical.
DARLING GRENADINE UPSTAGE GUIDE 7
TS: Who or what inspires you as an artist? DZ: I’m inspired by nature. I'm inspired by the emotions and challenges most of us experience, no matter our backgrounds—grief, resilience, love. I’m inspired by all the ineffable mysteries of the universe and the heart—you know, the light and fluffy simple stuff! I’m also so inspired by humor and absurdity. There’s nothing better than laughing till I’m crying and gasping for air.
TS: What advice would you give to a young person who wants to write for the musical theatre? DZ: Don’t wait for anyone to do anything for you. Do it yourself. Find collaborators. Write stuff for your friends. Write about what you love, not what you think anyone else wants. Move your furniture and rehearse in your living room. Share unfinished work in casual environments. What you’re working on will never be as important to anyone else as it is to you. People will flake. Emails will go unanswered. You won’t get that grant you applied for. Still, you have to write the emails and apply for the grants. But do it for yourself, in order to become more confident and take yourself seriously. Surround yourself with people you admire, people who are kind and fun. Don’t lose the spirit you had when you were a kid and you first started making things. It’s not a race. Be patient.
TS: What other projects are you currently working on? DZ: This year I’ve been recording a new singer-songwriter album called Natural History, which will be released in early 2020. It’s a collection of songs inspired by the natural world. I’m also working on an expansion of my one-act musical The Costume, an animation project, and a new music-theatre piece.•
Darling Grenadine Writer
Daniel Zaitchik in rehearsal Photo by Jeremy Daniel
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24
