Raised on his mother’s show tunes, a composer takes a shot at Broadway

Composer Dan Messé recently realized his childhood dreams of writing for Broadway with the playful and poignant Paris-themed musical, “Amélie.”

“I met Aaron Harnick, the producer of ‘Amélie,’ at Interlochen National Music Camp way back when we were just kids,” says Messé, 49. “We dreamed of the day when we would have our own show on Broadway. We stayed friends into our adulthood, when we were both in a position to finally take on such a huge project.”

Messé first made headlines with eclectic Americana music from his band, Hem, which has drawn a following for its ethereal sound and poetic lyrics. But raised on his mother’s vast collection of show tunes, his trajectory to a first Broadway production feels organic, with milestone detours along the way.

“Amélie” is an adaption of the fanciful 2001 French film by acclaimed director Jean-Pierre Jeunet. The Broadway show, which closes on May 21, features music by Messé with lyrics he co-wrote with Nathan Tysen (“Tuck Everlasting”). The musical’s story, with a book by Craig Lucas, stars a beautiful ingenue who orchestrates charmed moments for others before realizing them for herself.

Although the show is ending its New York run, this is not the last the public will hear from this band-leader turned musical theater maven, who shared more about the workings of his art in this interview with The Times of Israel.

What drew you to create a new score for “Amélie” — romantic comedy turned musical?

“Amélie” struck me as the perfect story to be told through song. It’s fantastical and romantic, funny and beautiful, and all the while, there is a real heart beating there within all the whimsy. Beneath the romantic comedy, the story is about something important and real; the end of isolation.

What do you love about your work?

I am first and foremost a music fan… a lover of music, particularly songs, and I try to write songs that have the same qualities I look for in other artists; namely, the ability to conjure a specific time and place and feeling, and the ability to transmute loss into something beautiful — or at least meaningful. A good song is like a spell, and the magic can be very powerful. When I’m working, I feel a bit like Micky Mouse in “The Sorcerer’s Apprentice.” It’s tremendously fun to play with this magic, but it’s also a little dangerous since you have to keep your heart wide open and feel all the feelings that you want your songs to convey.

What excites you about composing for musical theater?

I grew up in Michigan, listening to mom’s extensive collection of cast recordings. It was always my dream to write for theater, and particularly for Broadway, so obviously getting the chance to make my dream come true was thrilling. What I love about working in theater is how collaborative it is. Ultimately, it takes so many talented people to realize a show, not to mention the time it takes to develop a show. In the end, what might have begun as “your baby” becomes a “venn diagram” of all the people who worked on it, and over time, those people become a sort of family.

What excites me about “Amélie” in particular is that I got to explore some of my favorite themes in a long-form piece, really diving in deep to ideas having to do with isolation, and how important it is to be connected to other people in order to live fully. Also, exploring how our past can play out in our present lives, and ways to possibly overcome this trap in order to move forward.

What is it like to see your work finally reach Broadway?

To quote Willy Wonka: “Charlie, don’t forget about the man who suddenly got everything he ever wanted… He lived happily every after.” Actually, to be honest, I’m still full of doubts and fear concerning the future, but I’m trying to live more in the present, and I’m certainly grateful to have a show open on Broadway.

And how does it feel to say goodbye to that — at least for now?

Of course I’m heartbroken that its stay on Broadway was cut short, but I wouldn’t characterize the show as “short-lived.” Considering that we were coming off successful runs in Berkeley and LA, I would say the life of this show is still in the process of unfolding. Who knows what the future holds? But I believe the show will continue to find audiences that adore it around the world.

What other projects do you have in the works?

I am writing a song cycle based on the 43 chapter titles of “Huck Finn.” I just finished “You Can’t Pray a Lie,” Chapter 33, and I’m really pleased with how it turned out. There is something very satisfying working on a single song, after such a long time focusing on such a large, collaborative project. To be able to sit down at the piano and write a song from start to finish by myself feels like a luxury.

In its current state, at least, “Huck Finn” is a Hem Project. As it stands, it is more of a concept album or song-cycle than an actual stage-able piece of theater. Of course, this may change.

Aside from my “Huck Finn” project, I’m working with Craig Lucas again on a musical adaptation of his amazing piece, “Prelude to a Kiss.”

“Prelude to a Kiss” was commissioned by South Coast Repertoire. It’s too early to know whether or not it will be heading to Broadway. I do know it’s gonna be good.

How different is composing for Broadway than writing for your band, Hem?

With Hem, I am allowed to obsess over every single word and note, sometimes taking years to finish an album. With theater the process is much less amenable to this sort of microscopic detail work. You often have 24 hours to write a new song in order to try it out in front of an audience. The pace is crazy fast, and there isn’t any illusion that you are in control of anything. All you can do is do your best and hold on for dear life.

What are some of your favorite Hem videos?

Fans send us videos all the time. Sometimes they make their own videos using our tracks, such as this one for “Peace At Last.”

Sometimes it’s them covering the songs. Just type “Hem” and “cover” and you’ll find a ton. Sometimes, we like the video so much we release it as an official video — as we did with “Not California.”

I love the fan-made videos of my work. It is beyond gratifying when someone connects with your work enough to make something like that.

Brooklyn is an evident theme in Hem’s music. Where do you live?

I live in Carroll Gardens, Brooklyn, which is essentially like living a real-life Sesame Street.

How do you identify Jewishly?

I was raised Conservative and my Jewishness has everything to do with my profession. From my family’s support of my career choice — of course, after their initial shock at my not going to law school — to the heavenly music I heard at temple, I feel very proud to be a small part of the long line of Jewish composers and songwriters that have created the greatest songs ever written.

Have you toured or performed in Israel?

I traveled there with my family when I was in high school to visit my brother who was living there at the time. I can’t wait to have the chance to return. We traveled all over while we were there… Amazing trip.

I’ve never performed in Israel but I would jump at the chance.

How does parenting a 12- and a 14-year-old, with shared custody from your previous marriage, impact your work?

My kids have become terrific dramaturges over these last few years and they are now quite comfortable about giving me their “notes.” I’ve been lucky enough to have them with me as I’ve worked on the show out of town in Berkeley and Los Angeles, and then here in New York City for Broadway. Throughout this developmental process, they consistently had interesting ideas, thoughtful advice and strong opinions — of course. Thankfully, despite enjoying their theatrical “internship,” they both still have their sites set on careers in STEM fields [science, technology, engineering and mathematics].

What is your inspiration? Who are your musical influences?

My list of musical influences is vast, varied, and constantly evolving. Some constants are: Rickie Lee Jones, Laura Nyro, Scott Walker, Tom Waits, Randy Newman, Paul Simon, Stephen Sondheim, Bruce Springsteen, George and Ira Gershwin, Gillian Welch, Marvin Gaye, Aaron Copland, Joseph Canteloube, Van Morrison, Frank Sinatra, Peggy Lee, Nat King Cole, Donald Fagen and Van Morrison.

You sometimes move your body while your fingers dance on the keys. Do you have a fascination with dance?

Yes, I am a little obsessed with dance. I used to do a lot of collaborations with dancers, writing music for their performances. I just find the physical expression of music to be a whole separate dimension of what music can do — and what can be done to music.

How do you balance work with Hem and composing? And where do the two meet?

Hem hasn’t performed since 2015, though they have been instrumental in helping me develop “Amélie.” George Rush, our bass player actually performs in the pit orchestra, and Gary Maurer co-produced the cast album with me. Tall Steve Curtis played on a number of developmental workshops, which helped define how we use guitar in the show. Also, when Nathan [Tysen] and I were just getting started on the score for “Amélie,” we would bring our embryonic material to a songwriting group, which included Tall Steve and Dawn Landes, our harmony vocalist and glockenspiel player. I guess what I’m saying is that my work with Hem and my work as a composer for theater are complimentary. In fact, I’d say they feed on one another, so that I never feel like I need to balance the two.