When Harry Met Larry

Thanks for the positive feedback on Show Stopper! My work on the project continues. Just to recap, it comes from a musical theatre concept playfully titled When Harry Met Larry (WHML). The broad idea struck me after yet another viewing of the Nora Ephron classic with Billy Crystal and Meg Ryan. I suddenly wondered: can two gay guys just be friends, or will sex get in the way?

Friends had warned me that writing songs for musical theatre is a very different task. I don’t want to oversimplify good pop music, but usually a hit just needs a hook, a solid chorus, a couple of verses, a bridge — and you’re done. Musical theatre, on the other hand, demands a lot more.

A few weekends ago, I saw Todrick Hall’s latest work, Midnight, at Sadler’s Wells East in London. Full disclosure: I’m a huge Todrick Hall fan. But I was especially excited because it was billed as a “workshop” production. I imagined a few rows of superfans on folding chairs in a draughty rehearsal space, catching a rare glimpse into the musical development process. I was hoping to learn something for WHML, perhaps testing a few of my own songs with a tiny volunteer cast and keyboard.

That’s not what happened.

This “workshop” had a cast of around 30 excellent triple threats, fully costumed and backed by a 15-piece band/orchestra, with Todrick himself as writer, choreographer, actor, dancer, singer, and star. Even the huge mechanical backdrop looked nothing like a workshop. I was staggered by the sheer effort required to create 150 minutes of almost nonstop sung performance, blending styles from rap to gospel, RnB, pop, and Broadway. The ensemble performance at the end of Act 1 was so powerful it brought me close to tears. I assume this eight-performance workshop was a sophisticated pitch for investors to take it to the next level — if there is another level beyond this.

It reminded me how far Todrick has come from his early self-sufficient works. Straight Outta Oz looks like it’s all him, and mostly it is, but check the long list of credits — by 2017, he was already collaborating with top-tier talent.

I’m mentally prepared to write the 20 or so songs I think WHML will need. But writing the dialogue — funny, engaging, or at least fun — is a different challenge. A couple of capable friends volunteered, but life inevitably gets in the way. So, if you know anyone interested in scripting a 60-minute, hilariously queer (or queerly hilarious?) version of When Harry Met Sally, send them my way!

For now, I’m taking a leaf out of Todrick’s inspiring book and pushing ahead myself. My plan is to focus on the songs and create a kind of concept album, using a multi-channel technological solution to deliver the plot developments between the music.

And here’s the song that started it all: When Harry Met Larry. Originally written in a showtune style, I’ve been experimenting with different arrangements. My current favourite leans toward neo soul and RnB. As ever, I’d love to hear what you think.