TONY COOKSON DISCUSSES HIS NEW MUSICAL: ‘MUTT HOUSE’

INTERVIEW: TONY COOKSON

BY RYAN M. LUÉVANO

Tony Cookson.

If you’ve ever wondered what it would be like to see your favorite canine friends take to the stage with singing and dancing, this month is the time to find out. Premiering at the Kirk Douglas Theatre is the new musical Mutt House created and written by Tony Cookson with music and lyrics by John Daniel, Tony Cookson, Robb Curtis Brown, and David O. Featuring 18 original songs and a cast of ten, Mutt House is the story of quirky outsider Eddie Corbin who, with the help of his fellow mutts, stands up to save his neglected downtown animal shelter. In this Tin Pan LA exclusive creator Tony Cookson discusses what it took to get his new musical to this LA premiere and what audiences can expect from the all dog musical Mutt House.

How would you describe Mutt House in a nutshell?

It’s an entertaining love story filled with wonderful songs, great dancing, six funny dogs and a lovable underdog hero named Eddie. Eddie has been bullied all his life, but rises to the occasion when he has to save the ones he loves (the six dogs). In the process, he finds love — with a human.

What inspired you to write this show? Why tell this story?

A dream! I literally had a dream at 5:30 in the morning and saw people on a stage singing. Although they were not dressed in animal costumes, I knew they were animals, and I knew they were in an animal shelter. I woke up and thought- “That could be a fun idea for a musical.” I called my brother–in-law, John Daniel, who had done music for my movies, and asked him if he would like to write a musical. We had never done anything like it, but he said, “Sure. What the hell!” And we started. We had no idea what we were doing but we had so much fun creating it. We were like teenagers again. I didn’t specifically think, “Why am I telling this story?” I never do that. If something comes out of me, I let it take me and I see if it will sustain my interest and Mutt House (originally entitled Strays) has kept me there all along.

When writing this piece where did you start?

After the dream, I worked out a rough story outline, then a treatment. John started writing songs immediately. Looking back, I know how naïve we were but our enthusiasm for the show pulled us along like a wave. John had written a number of songs before I had a first draft of the book.

How do you work together as composers, lyricists and librettist?

I have learned on the job, so to speak. In the beginning, I would talk to John about the story and a character and say, “How about a song with this character about this?” And he would go back and write something, and I would respond and we would refine it. It was very simple. When David O and Robb Curtis Brown joined the team, we would discuss the song and its purpose in the show and its hook and either David would find a melody and Robb would write lyrics or Robb would write lyrics and David would find the melody. There was no set routine. Later, when I created melodies for new songs, David would help me structure the song and refine it, possibly adding a chorus or bridge or both. It was a very collaborative experience.

Amanda Leigh Jerry, Claire Adams and Ryan McCartan at the first table read. Photo by Amy Francis Schott.

How is composing pop and commercial music different than composing for musical theatre? What did you learn about writing music for a musical when writing this show?

The show was primarily a rock/pop driven show to begin with, but I felt it needed the dramatic build that musical theatre songs traditionally have. I tried to find a way to bring that element to the songs that I wrote.

What influenced the music for this show?

John Daniel, the first composer, is a rock/pop musician and so the songs naturally leaned in that direction, except for a few that were specifically suited for a character’s personality and demanded a different tone. In keeping with that initial rock/pop feel, we tended to write new songs with that general feeling in mind.

How do you write songs? Which comes first, music or lyrics?

This is so new to me. I literally started writing songs for the first time when I wrote them for the show about three years ago. I am not a trained musician. I have always played guitar and a little piano, and I basically write from my heart. I don’t have any particular routine. Sometimes a tune will pop into my head and I will refine it and then build it slowly, adding lyrics — like developing a painting from a sketch. Sometimes a hook of the song will come to me and then I try to find the melody that will best support it. There is no set process.

Ryan McCartan and Claire Adams perform selections from “Mutt House” at
Rockwell Table & Stage Musi-CAL Tuesday.
Photo by Amy Francis Schott.

When did you start writing this musical? How long did it take you to write the show?

I started writing the morning after I had the dream seven years ago. I have probably written over four hundred drafts and, between the four of us composers, we have written close to a hundred songs. It is a never-ending process. But luckily, for some amazing reason, I still really enjoy it.

How did Broadway producer Christopher Sepulveda get involved with your project? How has he helped shape this show?

I was lucky enough to have Ryan Bergmann, the director, introduce me to Christopher Sepulveda. After some initial meetings and discussions, he read the script and listened to some songs. I was so grateful that he decided to join us. His vast theatrical experience and story telling ability have helped me develop the show, improve it and bring it to another level.

Ryan McCartan. Photo courtesy of Mutt House, LLC.

What’s been the journey of this show from first draft to this LA world premiere?

After getting the idea seven years ago, John Daniel and I developed it and we had a 29-hour Equity reading back in July, 2012. That is when actors have 29 hours to learn the songs and read from their scripts in front of an audience. It is a learning process, which sent me back to the drawing board. We have had three of those over the years.  Once Christopher and Ryan joined, a full production became a reality.

How has the director Ryan Bergmann helped you shape this show?

Ryan’s suggestions and theatrical instincts have brought the story forward in wonderful ways. He is filled with talent and positivity. This has spilled over into the project and we wouldn’t be where we are without him.

What excites you most about this show?

Its heart. I hope it will shine through.

What can audiences expect from your show?

A fun, and hopefully moving, evening of songs, comedy, dancing and a redeeming love story. Also I can’t say enough about our cast! The actors are so talented, creative, giving and dedicated. It has been a gift to see the characters come to life through their inspired acting, singing and dancing.

WHO:
• Created and Book by Tony Cookson
• Music and Lyrics by John Daniel, Tony Cookson, Robb Curtis Brown, David O
• Directed by Ryan Bergmann
• Music Direction by Anthony Lucca
• Choreography by Janet Roston
• Starring Ryan McCartan, Claire Adams, Garrett Marshall, Gabriel González, Boise Holmes, Amanda Leigh Jerry, Valerie Larsen, Heather Olt, Ben Palacios, Max Wilcox
• Produced by Christopher Sepulveda

WHEN:
Previews: July 10 – July 14
Performances: July 15 – Aug. 5
• Tuesday at 8 p.m.: July 10 (preview) ONLY
• Wednesdays at 8 p.m.: July 11 (preview), 18, 25; Aug. 1
• Thursdays at 8:30 p.m: July 12 (preview), 19, 26; Aug. 2
• Fridays at 8 p.m: July 13 (preview), 20, 27; Aug.3
• Saturdays at 2 p.m. July 21, 28; Aug. 4 (no matinee on July 14)
• Saturdays at 8 p.m. July 14 (preview), 21, 28; Aug. 4
• Sundays at 1 p.m.: July 22, 29; Aug. 5 (no matinee on July 15)
• Sundays at 6:30 p.m.: July 8 (preview), 15 (Opening), 22, 29; Aug. 5

WHERE:
a guest production at
Kirk Douglas Theatre
9820 Washington Blvd.
Culver City, CA 90232
(free parking beneath Culver City City Hall – enter on Duquesne Ave. just south of Culver Blvd.)

HOW:
213-628-2772 or MutthouseTheMusical.com

TICKET PRICES:
$39-$59