Sorry? No, ‘Grateful’

John Bucchino calls Stephen Schwartz his best friend and Stephen Sondheim his mentor. So how come he’s not a huge fan of musical theater?

I WRITE THE SONGS  |  Composer John Bucchino has his turn performing his music with a cabaret show at Theatre 3, which is holding a mini-festival of his music this fall.

I WRITE THE SONGS | Composer John Bucchino has his turn performing his music with a cabaret show at Theatre 3, which is holding a mini-festival of his music this fall.

ARNOLD WAYNE JONES  | Life+Style Editor
jones@dallasvoice.com

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AN EVENING OF CABARET
Theatre 3, 2900 Routh St. in the Quadrangle. Nov. 17. 7:30 p.m.
$50. Theatre3Dallas.com.

………………

If you look at John Bucchino’s web page, you’re immediately struck by how, under “biography,” he lists only the compositions he’s written and recordings made of his songs and awards he’s received. No date of birth, no hometown, no pet peeves. It’s as if his life story can be expressed through his work alone.

And the thing is, Bucchino doesn’t really disagree with that.

“I guess I do feel that way,” he says with a sudden flash. “I figure on a website, it’s not about me as a person but me as a songwriter. I do feel the work — especially It’s Only Life and the albums — are incredibly open and incredibly vulnerable insights into me. Ninety percent of them are directly from experiences in my life. I’m so wrapped up in what I do — probably unhealthily so — but I’m perfectly open. I need to get those two things in a better balance.”

In fact, doing so might make for a good song.

It’s not as if Bucchino doesn’t have a fascinating story of his own. One of the most respected composers of cabaret songs for more than two decades, he broke into Broadway with the acclaimed 2008 musical A Catered Affair, which wraps up its regional premiere at Theatre 3 Saturday. But that’s hardly your last chance to experience Bucchino. On Nov. 17 — his birthday! — he’ll perform his one-man show at Theatre 3, and the next day, previews of his revue It’s Only Life begin in the Theatre Too space. It’s a mini-festival of Bucchino in Uptown.

It’s surprising — to Bucchino, especially — that he’s become a staple of Theatre 3’s schedule, since he personally never had much interest in musicals. Even today, while he numbers Stephen Sondheim as a mentor and calls Stephen Schwartz his best friend of 25 years (he even claims credit for getting Wicked made; more on that later), he doesn’t really “get” lots of theater references. In fact, he never intended to be a composer at all.
“When I started writing songs, my goal was to be a singer-songwriter,” he says. “I started out playing piano at age 1; it became my favorite toy and still is. I just started noodling around with songwriting, which naturally evolved out of playing piano in high school. I figured I’d be a [piano playing pop star] a la Elton John or Billy Joel. But noooobody was interested in me — they wouldn’t give me the time of day. It wasn’t on my radar that other people could sing my songs, but that’s what took off.”

His songs have been recorded by everyone from Barbara Cook (“It doesn’t get better than Barbara Cook — her version of ‘Sweet Dreams’ just knocks my socks off. But her version of anything knocks my socks off”), Kristen Chenoweth, Audra MacDonald and Patti LuPone; he wrote the music for a children’s book by Julie Andrews and her daughter; he calls Grateful probably his most important work. The song was also a watershed for him.

“It was Saturday. I was cleaning house and suddenly found myself at the piano playing the chorus for ‘Grateful’ and I just started to cry. But that’s as far as it went for month. Then came the sweat of crafting these lyrics and bridge around this perfect chorus,” he says.

Bucchino invited his friend Art Garfunkel over to listen to it and give feedback. As soon as it was over, Garfunkel said, “Don’t give that to anyone else: It’s mine.”

“From that reaction, I knew something was going to happen with it,” he says.

Still, his ascension to Broadway was a long one.

“I didn’t really know about live theater. I kind of thought of pop songwriting as somehow cooler — theater writing as less complex and two dimensional,” he says. “But Stephen Schwartz is the one who encouraged me to write for the theater.”

How can a gay guy involved in music not be a theater queen? Bucchino seems unfazed by the idea. He says he “wasn’t entirely unfamiliar with Stephen Sondheim” when Broadway’s greatest composer-lyricist called to say he was “really excited by my work.” But then came the pressure to produce something he wasn’t wholly conversant in. “It became terrifying to write for musical theater, because all these lofty people were encouraging me.”

A Catered Affair is his only show to open for a Broadway run, but his song cycles have been staples of regional theaters; Theatre 3’s Terry Dobson has been an especially enthusiastic supporter. (“I’m still not a musical theater geek just because I’ve done it,” he says.)

So how does he take responsibility for Wicked?

“Holly Near [for whom he has been a long-time accompanist] and I had gotten a gig to do a lesbian music festival on Maui. Stephen [Schwartz] was working on [the score for the animated film] Prince of Egypt in Los Angeles. I told him to come with me and we could hang out. He did. We were on a snorkeling trip with Holly and her partner and she said, ‘I just read the most interesting book.’” It turned out to be Wicked. When she described it to Schwartz, he immediately saw the potential to become a musical. “So if I hadn’t invited Stephen to vacation with us, it would never have happened!” Bucchino crows.

Bucchino acknowledges some have called his songs “not immediately hummable,” but that’s a good thing.

“That’s because you haven’t heard them before. I’d like to think that’s a reflection of my unique voice. What I go for in my writing is surprising inevitability — a chord progression or turn of phrase that makes you say, ‘I didn’t expect it to go there but, gee! How satisfying.’ I think the songs that are immediately memorable are derivative or formulaic in a way,” he says.

He also strives for a timelessness of sentiment, which is why, although often recorded by gay artists, his songs are usually gender neutral.

“If you look at the love songs on the Grateful CD, because I had not come out or to terms with my sexuality, I just decided not to use pronouns. There are no ‘he’ or ‘her,’ but ‘you.’ Maybe that’s a copout but also makes them more universal. We’re all people — gay or straight, male or female, we all go through the same stuff. I’m trying to reach that commonality which transcends gender or sexual orientation. Sometimes I wish my art were more overlapping into commerce, but I’m happy doing what I do.”

What’s the word? Oh, right: Grateful.

This article appeared in the Dallas Voice print edition November 11, 2011.

—  Michael Stephens

Gay wedding (the other kind)

A wedding spins out of control in the insightful musical ‘A Catered Affair’

Stage

FATHER OF THE BRIDE | A penny-pinching cabbie (Sonny Franks) argues with his wife (Sally Soldo) over the cost of their daughter’s reception in Theatre 3’s charmer ‘A Catered Affair.’

 

ARNOLD WAYNE JONES  | Life+Style Editor
jones@dallasvoice.com

Not every marriage-minded gal is a bridezilla — not that anyone will believe it. Jane Hurley has simple tastes: A civil ceremony at the courthouse, followed by a quick honeymoon getaway driving a car cross-country for a friend. No place cards, no guest list, no nosegay — just a license, a vow and groom, with mom and dad watching.

Only who would buy that? Jane’s mom, Aggie (Sally Soldo) does, as does her dad (Sonny Franks), who’s happy not to exhaust his bankbook throwing a party for someone else. But the groom’s parents don’t like it, and the gossipy neighbors suspect such a quickie wedding bespeaks of a pregnant bride.

A Catered Affair is based on a 1956 movie (and an earlier teleplay) starring Bette Davis and Ernest Borgnine, but while the original was a schmaltzy comedy along the lines of Father of the Bride, the musical — adapted by Harvey Fierstein, with a score by composer John Bucchino — is something else entirely.

There are broad comic moments, most dealing with dad’s penny-pinching, but the core of the story is deeper, more meaningful. (The “dad’s a cheapskate” angle has been played out too many times to count, and takes a backseat here.) Jane has lived in the shadow of her brother, who was killed in Korea; her Uncle Winston (Chris Wagley) is profoundly wounded that he isn’t invited to the ceremony attributing it to Jane’s disguised embarrassment over having a gay relative. And the tension between her parents churns up long-standing resentments that threaten their marriage.

Bucchino has composed a nice chamber musical with Sondheim-esque sensibilities (an asymmetrical rhyme scheme strung on staccato motifs that are occasionally lovely but defiantly unhummable). He’s more concerned with telling a story and revealing character than creating earworms for the drive home.

Fierstein’s script expands on the gay content, making Uncle Win simultaneously flamboyant, coy, brittle and defensive. In fact, the book explores issues of social convention (who wants the wedding and why) with unexpected insight.

Director Jac Alder paces the show well, and strikes a tricky tone. This isn’t Death of a Salesman: The Musical. It shouldn’t be dour and heavy, even as it frankly addresses issues about war and child rearing and the ends of marriage.

This is Soldo’s best work. Her hair snapped into a tight, graying bun, clad in a frumpy housedress, she exudes a working class ma from the Bronx, boiling hambones to stretch her food dollar. It’s not a glamorous role, but she gives it not just authenticity, but weightiness, especially on “Our Only Daughter.”

Soldo is matched by Franks, who looks so unlike what you’d expect a musical comedy performer to look like, he’s one of the best there is. Their pairing works even as the script toggles between comic fable and serious social document. They are the heart and soul of A Catered Affair, and certainly make it worth an RSVP.

This article appeared in the Dallas Voice print edition October 21, 2011.

—  Kevin Thomas