Lance Horne: “I’m interested in creating music that engages you unexpectedly”

Emmy award winning composer Lance Horne will return to the West End for one night only. Next Sunday 30th January will take place the concert ‘Lance Horne: First Things Last’ at West End’s Garrick Theatre, which will star Olivier and Tony Award winner Alan Cumming and “postmodern cabaret diva” Meow Meow, alongside West End favourites Julie Atherton (AVENUE Q), Aneurin Barnard (SPRING AWAKENING), Alexandra Silber (CAROUSEL), Paul Spicer (AVENUE Q), Hannah Waddingham (THE WIZARD OF OZ) and Emma Williams (LOVE STORY), with special guest Broadway star Norm Lewis.

Hot on the heels of its inclusion in the Lincoln Center’s acclaimed American Songbook series, ‘Lance Horne: First Things Last’ celebrates the release of Lances’ debut album of the same name. ‘First Things Last’ was released on Yellow Sound Label on 11 January 2011 and features Lance’s songs performed by US based artists including Alan Cumming, Lea DeLaria, Cheyenne Jackson, Ricki Lake, Meow Meow, Amanda Palmer, Daphne Rubin-Vega, Alexandra Silber, and West End stars Julie Atherton, Aneurin Barnard, Paul Spicer, Hannah Waddingham and Emma Williams.

Lance Horne composes, writes lyrics, sings, plays piano, and produces and musically directs original works in collaboration with artists from around the world. Writing in genres from musical theater to rock, classical stage to film scores and Emmy-award-winning work for television, Lance Horne maintains an active performance schedule on both US coasts, the UK, and Australia.

Lance Horne tells us about his debut album, the upcoming concert, his awarded career and his next projects.

TELL US ABOUT THE CONCERTS AT THE LINCOLN CENTER AND AT THE GARRICK THEATRE…
We’re creating an evening for both sides of the Atlantic from both sides of the Atlantic. Stars of West End, Broadway, and beyond are coming together to commemorate the release of the album of my songs premiering the numbers that have been tailored to their talents. Daisy Prince is directing it, and we can promise some great surprises.
 
WHAT DO THESE CONCERTS MEAN TO YOU?
They mean quite honestly everything. They’re the culmination of my work up until this point, gathering the forces from both sides of the pond into a collective pool. In addition to being a group of my favorite performers, it’s also a group of my closest friends. I can’t wait to share one side with the other and vice versa.

‘FIRST THINGS LAST’ IS THE NAME OF YOUR DEBUT ALBUM THAT WILL BE RELEASED ON 11TH JANUARY. WHAT WILL PEOPLE FIND ON IT? HAS IT BEEN DIFFICULT BEING ABLE TO RECORD IT?
People will find fifteen original songs that represent the best from the last decade of performances, specialty material, and upcoming musicals. Think of it as a greatest hits, volume one, from someone you may have heard of but not heard from. There’s also a bonus track that’s close to my heart.
It’s been an absolute joy recording it. We have had a lot of crazy logistics-- one track is a trio recorded on New York, LA, and London! The fourteen guest singers live on three continents, and we collated sessions from four studios into the master at Yellow Sound Label in New York. I flew across the US for a day to capture Ricki Lake’s vocals, and we even ran one session with Julie Atherton with Paul and Tori over skype at Abbey Road from New York after we all refused to accept she wouldn’t be a part of this album based simply on logistics. Her version of my “Anywhere But Here” on her ‘No Space for Air’ is still my favorite.

HOW DID YOU COME UP THE IDEA OF LAUNCHING YOUR ALBUM THROUGH A CONCERT?
I know the world of recorded sound is changing, and I want to let this first album have a joint identity as an event and collection of songs. Some of my favorite albums are those that somehow commemorate a moment in time-- Talking Heads’ ‘Stop Making Sense’, ‘Sondheim- A Celebration at Carnegie Hall’, ‘Noel Coward in Las Vegas’-- and most of the songs in ‘First Things Last’ are either premiering now or were premiered in a concert of some form somewhere in the world, mainly sung by the artists who are putting their stamp on them on the album. I’m a writer and a performer—this approach gives me the ability to do both!

FOR THOSE WHO HAVE NEVER LISTENED TO YOUR MUSIC, HOW WOULD YOU INTRODUCE IT?
Rather than trying to pinpoint the genre-- I’m a cowboy from Wyoming in the line of the Stewart clan who lives in New York with the majority of the year spent working on projects in London, Sydney, and Vegas-- I’d say I’m interested in creating music that engages you unexpectedly. Milton Babbitt instructed me always to provide “something to bounce or hum along to,” when I was studying with him at Juilliard, and I’ve definitely gone for that. Have fun! Listen to things a couple times and see what sticks?
A lot of the performers will tell you I’m very word-based. (I constantly have to remind myself to let them breathe!) Try to start with what’s being said and ask how and why. Hopefully by then, there’ll be a musical hook that matches your aesthetic and you’ll be transported to some combination of your imagination and mine. Try to approach each song with curiosity rather than judgment, as you would a mysterious guest at a party. Give them two to five minutes to find what you have in common—what resonates.

THROUGH ALL THESE YEARS YOU’VE WORKED WITH SUCH A DIFFERENT PERFORMERS. IS THERE ANYONE OF THEM YOU FEEL ESPECIALLY INSPIRED BY? ANYONE THAT HAS BEEN REALLY IMPORTANT IN YOUR CAREER?
Alan Cumming and I share many things—including an ex. Watching him grow into his own with such joie de vie, doing so in parallel, and adopting his “cancel and continue” method have changed my life in the past few years. Likewise with Justin Bond’s “self care is sexy” approach and willingness to try anything. Meow Meow and I have a tradition of sending each other hilarious photos from our phones from one end of the globe to the other and staying up ‘til dawn perfecting the next lyric, song, show, or playing each other our favorite artists. Al Silber and I keep each other going (I named her new book, she took my album cover shot)—we’re the Noel and Gerty 2.0. Emma, Cheyenne, my NY roomie Lea DeLaria—really, everyone who’s gathered together for this album made such an amazing first impact—hence ‘First Things Last’.
As far as my career, Hal Prince took a chance on me and let me intern for his new musicals program the day after I graduated high school. I sharpened pencils, ran errands for Betty Buckley, Scott Schwartz, and met friends and colleagues with whom I still work to this day. I constantly ask myself what Hal would do.

YOU RECEIVED AN EMMY IN 2008 FOR YOUR SONG ‘CHEMISTRY’. WHAT DID IT MEAN TO YOU TO GET THIS AWARD? HAVE THIS – AND OTHER AWARDS YOU’VE EARNED – CHANGED YOUR CAREER IN ANY WAY?
Contrary to the nights spent on the pole in the basement at Freedom, I’m actually shy-- especially about putting my work out there. The Emmy was a big light-under-the-bushel moment. It was a kernel that led to the confidence to create this album and event. Things diversified pretty quickly after that—I spent a lot of time at the Sydney Opera House, Meow and I spent a year on and off in Berlin, and I started writing and arranging repeatedly for the Macy’s Parade here in New York.
I’m still proud of receiving the Jonathan Larson Award. I saw RENT my first week in New York and it changed my life. I believe about one out of every ten ventures comes through, but I love each adventure equally. There’s no time to second guess. Most of all, I try not to be competitive or judgmental. I wrote “Chemistry” in an afternoon for my friend Kathy Brier from HAIRSPRAY to sing on ‘One Life to Live’—the fact that it received such notice is an honor and simultaneously camp-tastic.

YOU’RE DEVELOPING SOME MUSICAL SHOWS. COULD YOU TELL US ABOUT THEM?
THE $TRIP is my baby. It’s about a rebellious girl who jumps out of an airplane and lands in the middle of a Vegas floorshow about the American dream. Cheyenne and Lea sing songs from it on the album—it’s a big dance show and would be a blast to premiere in London. If you’re out there, Ms. or Mr. Producer, contact me!
AMANDINE is a chamber musical based on the memoirs of a hermaphrodite in 18th-century rural France. Think Passion meets Floyd Collins.
THE CENTER takes place in the Village in 2012 and Egypt in 2012 B.C. It’s a six character absurd comedy musical-- it’s about what you do with what you’re given. Lea, Emma, and Ricki sing songs from it on the album, and Julie did one as well on her last album. It’s ready for a home!

YOUR SONGS WERE FIRST HEARD IN THE WEST END IN THE CONCERT ‘NOTES UNLEASHED’. HOW DO YOU REMEMBER THAT NIGHT?
I met Paul, Julie, Hannah, and began working with Neil as a producer. The bootleg from that night at the Vaudeville brings me great joy. I wrote “6 Hours” as part of the promise to compose something on the plane from New York to London, and Paul premiered it that night and does the quintessential version of it on ‘First Things Last’. I remember the infectious let’s-put-on-a-show can-do attitude of the band and the party feel on the chaise-lounge set. I met a lot of new friends that night, including Leanne Jones (ask her to tell you her Ian McKellen story!), and the boys who run TKTS. Also, the night did end in the afore-mentioned Lady Gaga-infused dance-fest in the basement of Freedom with Tori Allen-Martin and the new musical theater group that’s thriving in London. My eyes were opened that night.

WHICH KIND OF MUSICAL THEATRE SHOWS DO YOU LIKE THE MOST? HAVE YOU GOT A FAVOURITE COMPOSER?
For several years, Sondheim and I would go see plays together—not musicals as per his instruction, but plays. In addition to studying with the same teacher, we share an aesthetic for downtown and experimental work. I love direct or subtle political pieces, like CRADLE WILL ROCK, REGINA, ST. LOUIS WOMAN, PACIFIC OVERTURES, and ASSASSINS. I also love dance works—Twyla Tharp’s ‘Route 66’ and ‘Movin’ Out’, Rafael Bonachela’s work with the Sydney Dance Company and Pina Bausch’s company—especially ‘Palermo, Palermo’, ‘Seven Deadly Sins’, and ‘Volmond’, have in turns inspired and devastated me.
Also, I must confess I’ve seen (and loved) more on the West End in the past few years than on Broadway. I’m still blown away by ‘War Horse’. I’m really bummed that I missed Julie’s in TOMORROW MORNING, but glad I saw LOVE STORY early on at the Chichester Festival— I loved Emma’s “Italian” duet. I love seeing friends do shows and I’m very loyal—Paul was a blast in AVENUE Q and I love Trevor, but was devastated to see A LITTLE NIGHT MUSIC in New York without Hannah at the helm. I’m really looking forward to WIZARD OF OZ—bring it on. The UK production of SOUND OF MUSIC with Simon was spectacular. I’ve been talking with the National—their new musicals initiative is very exciting to me. The favorite play I’ve seen to date was at the Cottlesloe—‘On the Shore of the Wide, Wide World’. (Hey, Simon Stephens, want to write a musical together?)

I love Michael John LaChiusa. He’s been a constant inspiration and support. His WILD PARTY was the best new musical I’ve seen to date.
I also adore Dillie Keane. Meow Meow, Alan and I were performing at the Edinburgh Fringe this year, and thank goodness Meow and I had one night off so we could so see Fascinating Aida. From “Bored” to “Cheap Flights”, I love how Dillie continues the Noel Coward legacy with work that connects instantly with the audience in a way I don’t know anyone else to have except Armistead Maupin. Amanda Palmer and I have covered her “Look Mummy, No Hands” opening for ‘Death Cab’. I love the Scissor Sisters— as witnessed by the fact they’re a lyric in track 4. Ana and I performed together in the downtown scene in NY and San Francisco, and I gave Jason/Jake a piano lesson and we’re writing together (see below). Once I start listening to ‘Night Work’ (their latest album), I can’t stop until I’ve heard the whole thing.
I’ve skirted the issue of who I love now who’s composing for the stage. We’re all friends and it’s very hard to say, especially when most musicals and spectacles I’ve seen lately have been revivals or frankensteined from jukeboxes (and I had a blast at the Thursday matinee of DIRTY DANCING—can you believe I’d never seen the movie?). My favorite modern musical is ‘Movin’ Out’, after all. Of course, I love Sondheim. He came to a workshop of THE $TRIP and we had an hour of notes together afterwards which changed how I write. I had three cassette tapes as a child, and I’d mow the lawn to EASTER PARADE, ANNIE GET YOUR GUN, and PACIFIC OVERTURES. No kidding.

CAN YOU TELL US ANY MORE ABOUT YOUR FUTURE PROJECTS?
I love to say yes to things I’ve never done before, and 2011’s going to be a blast. I head after London to Sydney to curate and perform at the Opera House for Mardi Gras, return to the states to music supervise the new musical Diane Paulus is directing by SPRING AWAKENING playwright Steven Sater, and System of a Down’s Serj Tankian. I’m also going to pile into a car with Al Silber and drive cross-country, creating Hybrid along the way to premiere on the West Coast when we arrive. I’ve contributed to a new musical Sandra Bernhard, Justin Bond, and Jason Sellards/Jake Shears are creating, and there’s one very exciting one I’m not at liberty to discuss yet, but involves composing a musical from a novel by a great writer and friend. If anyone has a great idea, I’m all ears!

Alan Cumming and Lance Horne in the Lincoln Center’s acclaimed American Songbook series