Want to succeed as a live theatre composer? In these two interviews, you’ll hear what it takes to get started and succeed in composing for the live theatre industry, from 4x Tony-nominated composer Daniel Kluger known for his bluegrass arrangement of ‘Oklahoma!’ for its 2019 Broadway revival and for his score on the Broadway play ‘The Sound Inside,’.
You’ll also get insights from the Annie Award-nominated composing/songwriting team of Elyssa Samsel and Kate Anderson who wrote the songs for the musical adaptation of ‘The Book Thief’ that showed in March 2021 in the U.K. at the Octagon Theatre in Bolton and who composed for Off-Broadway musical ‘Between the Lines’:
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How did you get started as a composer? What was your very first theatrical score/composing gig, and what was that experience like for you?
We met in the BMI Lehman Engle Writer’s Workshop, where composers and lyricists are able to pair up and try out different collaborations under a strict curriculum that gets a little more DIY in the second and third years of the program.
It was a fabulous educational and networking opportunity for us. During our third year in the program, we were working on a subverted fairy-tale themed Musical Comedy, which we’d present to the Workshop for feedback and guidance while writing. Shortly afterward, we got our first big composing gig when we were recommended to author Jodi Picoult. She was looking for songwriters to adapt one of her books into a musical for the stage. When we read her novel, it felt very full circle because the book had a lot of fairytale elements, so the songs from the musical we had already been writing came in handy as examples of our writing style and tone. It’s always good to remember that if the project you’re working on seems like it might be going nowhere, at the very least it is your best calling card!
When we started working with Jodi, it was our first time showing work to producers, collaborating with a book writer, and putting our work up in industry readings. It was very exciting and very educational. Very promptly, we learned how important it is not to be too ‘precious’ about your work. Things get cut and changed all the time and you have to roll with the punches. It was extremely valuable to have that experience so early on.
Any advice you’d share on how to land a job as a theatre composer/orchestrator?
We’ve always been advocates for making friends anywhere you go. This business feels enormous yet tiny at the same time. You never know “who knows who.” A lot of our best collaborations/opportunities have come out of making as many connections as possible, all the while being curious and — most importantly — kind to others.
Another wonderful way of landing jobs is to find mentors; focus on people whom you admire and see if you can reach out to them to pick their brain. As long as you’re being respectful, we’ve found that most of the people we looked up to were eager to “pay it forward,” and help others navigate the tricky turns and potholes of the industry.
Additionally, having work ready to show is crucial. You never know when one of those mentors or connections will reach out with an opportunity, so have some great demos ready to go.
Show a range of your work, and make sure you show that you’ve put some professional love into your work. Investing a little bit of money into great-sounding demos will take you far!
What were some essential lessons you’ve learned throughout your career?
We learned very early on that one secret to a meaningful, efficient collaboration is having a healthy dose of enthusiasm and optimism. These elements can make up for any number of shortcomings. Anytime we feel nervous, undeserving, or insecure while working on a project, getting feedback, or trying to land a gig, we try to keep our attitudes and our reactions optimistic.
We’re lucky in that regard, that we have each other, because sometimes it takes two to keep enthusiasm afloat. Persistence is key, so even at your lowest lows, try to keep creating.
We were also told early on by a higher-up at Disney that “playing well in the sandbox” is vital. Projects take years and years, so nurturing relationships, finding the fun in collaborations, and making it known how much you value your collaborators is the secret sauce to sustainability when it comes to collaboration. It can be hard to put ego aside, but ultimately trusting your team is the only way to move forward. Believe that your collaborators are geniuses and it will take you far!
Any favorite tricks and workflows tips that help when composing for theatre?
When composing for theatre, it’s important to go into it knowing that it’s a marathon, not a sprint. Be kind to yourself and know that it will take time. Unlike writing for TV/film where the deadlines and schedules are much more swift, your theatre show may take years to age and mature.
We love that aspect of it because the show can continue to evolve and grow as YOU grow, so when the show is finally “frozen” (meaning: no more changes can be made by the directors/writers) on opening night of its production, there’s a real possibility of it having layers upon layers of emotional depth from all the years you spent crafting it. It’s about the journey, not the destination in that sense! The journey will infuse the art.
What are your favorite sites and resources for composers?
Maestra is a wonderful resource if you’re looking for female collaborators. They have a wonderful mission and we often recommend their website to people who are seeking fellow writers.
We also highly recommend joining the BMI Lehman Engel Musical Theatre Workshop if you’re interested in furthering your education in composing/writing for the theatre. They offer a librettist workshop too, if you’re also interested in book writing. We owe so much to the moderators of the workshop: Pat Cook, Rick Freyer, and David Spencer, who were monumental in guiding and inspiring us.
What’s one special thing you did to become a successful composer?
We found each other. Having a collaborator who makes the work fun, and who makes you laugh is a blessing. We see our friendship as a main contributor to any success we may attain, since it is our friendship that fuels our ambition for the work.
Seek out creative partnerships that make you want to go the long haul together. Try to think of your creative journey as though it’s a fantastic, epic road trip. We’re lucky because since we have each other in the same car, any “highs” along the way feel even more high, and any “lows” feel like they’re just another part of the mega-long drive that we’re still so happy to be on.
Additionally, set small, attainable goals every year and work to achieve them. Each goal will unlock a new level of goal that you can set for yourself next. It’s really about setting intentions because each step you take will then become intentional whether you realize it or not.
Look to others you admire and find out how they achieved their goals. If you can see it, you can be it. We believed that every step of the way, and continue to do so!
How did you get started as a composer? What was your very first theatrical score/composing gig, and what was that experience like for you?
I’m originally a jazz pianist and improviser. After working as an accompanist, I became passionate about how musicians can support dramatic performances. The skills of accompanying led me to scoring and I think the fundamental sensitivity required is the same for both.
Any advice you’d share on how to land a job as a theatre composer/orchestrator?
Seek out work and artists who inspire you, and reach out to those artists with your authentic interest. Be willing to join a team and be collaborative.
What are some essential lessons you’ve learned throughout your career?
It’s important to plan, but plans often need to change. Be prepared, and be prepared to revise.
Any favorite tricks and workflows tips that help when composing for theatre?
For me, it’s all about synergy between music and the visual language. With a film, you may have a picture or image to inspire you. In theatre, you sometimes don’t see the visual world realized until you’re in the theatre and the music needs to have been written already.
It’s important to develop relationships in the pre-production process with the director and scenic designer, to base the composition process in the visual investigation of the production. And then be ready to change it!
What are your favorite sites and resources for composers?
Of course, Spitfire Audio has changed all of our lives, not just for their software but for the education materials and community discussion.
IMSLP is a fantastic resource for scores.
I’m also a big fan of the “phone a friend” method!
What’s one special thing you did to become a successful composer?
I learned to take direction, to be willing to throw out my own work if it doesn’t fit the dramatic needs, and start again. Every revision or new approach takes you deeper into a relationship with the story and image.
A big thanks to Elyssa Samsel, Kate Anderson, and Daniel Kluger for sharing their valuable insights with us!
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