Q&A with Ever After's Marcy Heisler and Zina Goldrich
What was the first musical you've ever seen on stage?
Marcy Heisler (MH): I grew up in Chicago in a very theatre-appreciating family, and the first musical I ever saw was a community theatre production of Mary Poppins. They had real flying and I was enchanted with the entire process and production. The Wiz was the first professional production I saw, and I loved everything about it. But of the shows I saw at a very young age, it was probably A Chorus Line that gave me a map of what I wanted to do with my life. Even though my hello twelve/hello thirteen years were in front of me, I was absolutely fascinated not only with the performances, but the power of musical storytelling.
Zina Goldrich (ZG): I think the first musical I saw Oklahoma! My parents used to take us to Jones Beach where the stage was actually surrounded by water. At the end of the show, the music director, Guy Lombardo (of Auld Lang Syne fame) came out on a motor boat for his bow. My folks took me to everything; musicals, light opera, the Village Vanguard, etc. I was immediately hooked.
Why Ever After?
MH: At this show's heart is the notion that the relationships we all observe, enjoy, and foster in each other create the true fairy tale. The only bigger magic than life itself are the gloriously intricate ways we share it with each other.
ZG: I love the fact that I can share this story with my teenage daughter. I am inspired by Danielle, who seizes opportunity, and does not accept her challenging circumstances. I think she’s a good example for any young woman today.
What’s your favorite Cinderella story?
ZG: Is it wrong to say Ever After?
MH: Aside from this one…Working Girl.
What are you working on next?
MH: One project is based on a popular Christmas story, and another is an original romantic comedy.
ZG: We’re not allowed to say much more than that! In addition to those, we’re looking at a Cyrano project based in the Brill Building as well as a review of some of our romantic comedy songs.
Who has greatly influenced or inspired your professional career?
MH: Maury Yeston, Stephen Schwartz, and James Lapine have been wonderful mentors. While I never knew him, Howard Ashman is someone I hugely admire, as well as Oscar Hammerstein, whose book of lyrics I sometimes carry in my purse. Winnie Holzman and Lynn Ahrens are wonderful touchstones for me as well. Producer/Director Eileen Boevers was a huge Chicago-based inspiration to me, and gave me opportunities to learn all the aspects of putting on a show at a very young age.
ZG: My first piano teacher, Edith Wax, was a huge influence as she encouraged me to improvise and make up music as part of my lessons. Because of her, I started writing music in elementary school. Maury Yeston was my mentor. I assisted him for years, and I was able to watch him work and be witness to the process of developing a show. He introduced me to countless Broadway professionals, and I am eternally grateful for all he taught me. Lastly and perhaps most importantly, I would say my dad. He was not only a doctor, but a very successful jazz musician. He played trumpet every Monday night at the Village Vanguard with Mel Lewis and Thad Jones, which was the pre-eminent big band of the 70’s. There was always music in the house, and I treasure the fact that I can still jam with him.
Would you ever switch roles if you ever had the opportunity?
MH: At heart I am a words person, and at her heart Zina is a music person. I wouldn’t want to mess with that alchemy…but would I love to play the piano? Sure!
ZG: Prior to meeting Marcy, I wrote lyrics. I actually was a staff songwriter at Walt Disney Feature Animation. However, once I met Marcy, I knew that I had found my musical match. I still think lyrically, but I am happy to let Marcy do all that hard work!
What comes first? The music or the lyrics?
MH: We usually refer to our writing process as a tennis game in which I get to serve first. After that, however, it’s a true back-and-forth process.
ZG: It is a fluid process. Mostly lyrics first, and as Marcy said, it is a tennis game. There are times when the music really needs to be front and center (a big love ballad, etc.) so on rare occasions we’ll do music first. But I find that the best melodies come from knowing what the words are saying. That’s how you get the best marriage of music and lyrics.
Any advice for aspiring musical theatre writers?
MH: One of my favorite Leonardo quotes is "It had long since come to my attention that people of accomplishment rarely sat back and let things happen to them. They went out and happened to things." In my musical experience, not knowing where to start and starting anyway has made a lot of wonderful things happen. Though it’s daunting, be unafraid to be singular yet gather voices around you that will take you to unexpected places. Right moments result from wrong turns. Don’t worry about anything anyone else is doing. Specificity is always your friend. Whether literal or figurative…spend a great deal of time on things that make you sing.
ZG: Never take “no” for an answer. Do not wait for permission. If you love to write music, then write music. I ignored all the people who told me that my career choice was crazy. Perhaps crazy, but so fulfilling. I love the old expression (forgive my paraphrasing) “If you love what you do, you’ll never work a day in your life.”
Article by Tiffany Williams
