Yesterday we had part one of our interview with Derek Klena. You might say his emergence as a musical theatre star is the stuff that dreams are made of. It will be his ascent from humble beginnings in West Covina to Broadway that will be the theme of his show on Saturday night at the El Portal Theatre in North Hollywood.
I discussed with him the first part of that ascent where he was talking about people like Joe Mantello, Benj Pasek & Justin Paul, Kelli O’Hara, Jason Robert Brown and more. It should be noted that each and every one of those people has at least one Tony Award. So in his young career he’s keeping some pretty heady company. Which is precisely where we will pick up our conversation.
You realize that you have already worked with some pretty heavyweight Broadway talent. Do you ever just stop and let it sink in?
I’m very aware and I pinch myself constantly with these experiences I’ve had. Just coming off Anastasia and working with Lynn Ahrens, Stephen Flaherty, Terrence McNally and Darko Tresnjak, I’m just grateful they saw something in me in the audition room and had the willingness to work with me. [It should be noted that they are all also Tony Award winners.]
Even though I didn’t have musical training in college, the experiences and people I’ve worked with has been invaluable. I learn and I continue to learn. Having these role models to learn from…I’m the luckiest guy.
You’ve done two productions of Diner. The show is based on Barry Levinson’s film and features songs by Sheryl Crow. Tell me about the music and why this show hasn’t made it to Broadway.
The music is beautiful. It’s a tricky show and it’s a tricky movie to translate to the stage because it is such a character-driven and relationship-driven show. Incorporating that musical element to that and to find the ebb and flow of the plot line from the movie was a challenge.
Barry had rewritten [the book] for the show. I know they are still fiddling with it. Hopefully Diner will have a life on Broadway. Sheryl’s music is so beautiful and is written to period. Watching the way she translated all these iconic characters and gave them a musical voice was fun to watch. That was another experience to watch her work and her work with Barry specifically. It seems like such an odd pairing. Strangely enough they worked well together and produced a great musical.
Does new work excite you more than revivals or going into long-running shows?
There is a privilege you get from developing new material. The writers, in a way, are writing the role to fit your skill set and abilities. So if something is feeling wonky or you’re having trouble with it, they are open to tailoring it to you.
Another really cool aspect is you get to do the cast recordings. You get to make that piece of history. Everybody grows up listening to these iconic albums and the voices they idolize listening to those records. To be a part of that is kind of a dream come true.
In 2014, Stephen Holden of the New York Times called you a dead ringer for the early 70s Richard Carpenter [of The Carpenters] and he continued to say that you are, “so boyish that his baby face virtually sparkles with morning dew.” That almost sounds like the kind of comment that would take years to recover from. How did you feel when he wrote that?
Oh I remember that one. I’ll take it as a compliment that I look youthful. That’s great if I can still pass being a younger self. I do look for roles that will mature with my age and I’ll get to demonstrate that more. As I grow I’m looking for more complex characters to do on stage. In Jagged Little Pill I’m a younger character, but he’s experiencing a lot of life experiences on that stage. I don’t take it as a negative right now.
Jagged Little Pill got rave reviews in Boston. What excites you most about the show and its upcoming opening on Broadway?
I’m very grateful we’re not re-telling Alanis Morissette’s life. Alanis has, and always had, such a strong perspective on the human condition. Whether or not and/or why people make the decisions they make, what experiences we have that cause us to make those decisions…What we do in Jagged Little Pill is almost put the audience on the spot and ask the hard questions. We spotlight really relevant questions that open up the conversation about today.
Our biggest goal is that at the end of the night, no matter what political party you are part of, whether you are rich or poor or somewhere in between, if you walk out and it sparks a conversation about one of the topics we address – we’ve done our job. The last song illustrates what we’re trying to do. You fall down, you make mistakes, you grow as a person. The most important thing you can do is strive to be a better person. Especially today.
For tickets to Saturday’s show at the El Portal Theatre in North Hollywood go here.
For information and tickets for Jagged Little Pill (previews being November 3rd at the Broadhurst Theatre in New York) go here.
To see part one of my interview with Derek Klena, please go here.
Main Photo: The company of Jagged Little Pill/photo by murphymade