Adam Guettel | |
|---|---|
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| Background information | |
| Born | (1964-12-16)December 16, 1964 (age 60) New York City, U.S. |
| Genres | Musical theatre |
| Occupation(s) | Composer,lyricist |
| Years active | 1996–present |
| Labels | Nonesuch /Elektra Records |
| Website | adamguettel |
Adam Guettel (/ˈɡɛtəl/; born December 16, 1964) is an Americancomposer-lyricist ofmusical theater andopera. Guettel has written the broadway musicalsThe Light in the Piazza (2005),Days of Wine and Roses (2023), andFloyd Collins (2025). Guettel has received twoTony Awards and twoDrama Desk Awards.
As a composer and lyricist, Guettel has earned acclaim and numerous accolades, including twoTony Awards, twoDrama Desk Awards, The Stephen Sondheim Award, theRichard Rodgers Award, and theFrederick Loewe Award.
Guettel was born on December 16, 1964, to film executive Henry Guettel and writer/composerMary Rodgers, daughter of famed composer Richard Rodgers, and was raised on theUpper West Side ofNew York City. Despite his mother starting her career writing musicals, Rodgers had moved on tonovels by the time Guettel was born, making music uncommon in his childhood home .
Guettel has four siblings, Nina Beaty, Kim Beaty, Tod Beaty, and Alec Guettel. Alec "strayed away from anything artistic".[1] Guettel's brother, Matthew, died at age three ofasthma—Guettel's LLC is called Matthew Music.
He began performing as aboy soprano soloist in operas includingPelléas et Mélisande andThe Magic Flute, both at theMetropolitan Opera and theNew York City Opera, and in another production ofPelléas with theSanta Fe Opera. He was also slated to play Amahl in the film remake ofGian Carlo Menotti's "Amahl and the Night Visitors". After Guettel's voice changed, it "became a very light, high tenor", ending his boy soprano career.[2]
Guettel played bass guitar in rock groups, but felt he wasn't good enough at the instrument, and that even if he was "even a bass solo is not that satisfying. It is like putting a sail on a car."[3] For a short time, Guettel expected he would become an actor, "like any American boy in the '80s", but gave up after auditioning for a production ofThe Sound of Music and being told that he acted like a "cancer patient" by director, Jay Harnick.[4] In his collegiate years and into his early twenties, Guettel worked as a rock and jazz musician, singing and playing bass, before realizing "that writing for character and telling stories through music was something that I really loved to do, and that allowed me to express love".[2]
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Soon, turning to musical theatre composition, he was mentored byStephen Sondheim.[5] Guettel recalled how as a 14-year-old boy he showed Sondheim his work. Guettel was "crestfallen" since he had come in "sort of all puffed up thinking [he] would be rained with compliments and things", which was not the case since Sondheim had some "very direct things to say". Later, Sondheim wrote and apologized to Guettel, writing "... I didn't mean to be 'not very encouraging.' In fact, I hoped to be quite the reverse". He assured the 14-year-old Guettel that he thought him to be "literate, intelligent, and talented", and told him to "keep writing, because that's what we all do".[6] was actually trying to be "constructive". Years later, Sondheim included Guettel's song "The Riddle Song" fromFloyd Collins on his list of "songs he wished he'd written".[7] Guettel credits Sondheim with his focus on clarity as the central rule in his writing. In September 2009, Guettel and Sondheim "broke down the art of songwriting" in an hour-long interview for the Dramatists Guild of America.[1] After Sondheim's passing, Guettel wrote the "last word" For the Library of Congress's Magazine on his work.[8]
Guettel is the son of composer, author andJuilliard School chairmanMary Rodgers, who died on June 26, 2014, and grandson of legendary musical theater composerRichard Rodgers. His father, Henry Guettel (died October 7, 2013), was a film executive[9] and was the executive director of theTheatre Development Fund.[10] When Guettel took up music composition in his mid-teens, he was encouraged by his family. This came with harsh criticism from his mother, a broadway composer herself; “That's a lazy melody. Those harmonies are boring. I’ve heard that before. You can't end a song like that. You have to bring us home,” Guettel recalled that “She was unforgiving, and in that way, she was the best teacher ever. The stakes were high, and she knew exactly what she was talking about.”
His mother said that she offered him advice for around a year. "After that, he was so far beyond anything I could ever have dreamed of, I just backed off."[3] Richard Rodgers, who died when Guettel was 15, overheard an early composition, said he liked it, and asked him to play it louder. Guettel has qualified the compliment, noting that "He was literally on his deathbed on the other side of the living-room wall."[3] Guettel has said that his grandfather's work as a composer has afforded him enough money to choose "weird topics" for musicals, and to take his time completing them.
Guettel attendedPhillips Exeter Academy, School Year Abroad (SYA France) andInterlochen Center for the Arts. He attended Yale University, where he met frequent collaboratorTina Landau. Guettel wrote a song for a revue Landau was directing, the first of many collaborations between the pair.[11] While at Yale, Guettel took time off from school to work asJohn Mauceri's assistant and the DX7 consultant on the broadway musicalSong and Dance.
When Guettel was eighteen, he began writing a one-act opera adaptation ofThe Butter Battle Book. He had been given an "early go-ahead" by theGeisel estate, but the rights were taken away in favor of a Marvin Hamlisch adaptation which never materialized.
After graduating from Yale University in 1987, Guettel's first major project was the score ofThe Legend of Oedipus, a retelling of the story ofOedipus directed byNikos Psacharopoulos, head of theWilliamstown Theater Festival. Guettel and Landau collaborated on an adaptation ofA Christmas Carol produced byTrinity Repertory Company in Providence, Rhode Island 1989. According to Guettel, the production was a difficult experience. He recalls breaking his pencil point "about 45 times" during a run-through, taking notes on his problems with the way his score was being done. When Guettel told the musical director they needed more rehearsal time, they replied that there was no time. Guettel was "furious" and started punching a wall in the back of the theater, breaking his hand and wrist in three places.[12] In the adaptation, Guettel used the original Dickens text as the lyrics. Fellow composer,Ricky Ian Gordon wrote that there was a song in the show where the character, Belle, sings to Scrooge "I release you with a full heart for the love of him you once were", which made Gordon "almost burst into tears".[1] Guettel said this experience taught him that he must "let go" to be a strong collaborator. Marjoree Samoff, producing director of theAmerican Music Theater Festival saw the show and commissioned Guettel and Landau to write a new piece together.[11]
Landau began to search for a subject for the two to work on. "The Spark" came when Landau and Guettel discovered a 1976American Heritage article titled "Dark Carnival", a recounting of the story ofFloyd Collins. Guettel claims his fascination with Collins' story came from a personal link. "This is right when I'm starting my career in musical theatre with Richard Rodgers as my Grandfather... I think I was writing it, on some level, to process the likelihood that I wouldn't match his career, to answer if there's nobility in failing at something noble"[13] Guettel adds that his confidence in the idea came from his mentor Stephen Sondheim believing it was good idea for a musical. Sondheim was a fan ofAce in the Hole, a film loosely based on Collins' story and said it's a "fun idea for a show".Floyd Collins was originally staged at theAmerican Music Theater Festival in Philadelphia, in 1994, in a workshop where Guettel not only wrote the music and lyrics, but also starred as Floyd's brother, Homer.[14] On the subject of adapting the true story of Floyd Collins, Guettel stated "We're true to the spirit of the story, but we are circling it for the most dramatic angle". The musical opened atPlaywrights Horizons on February 9, 1996. InThe New York Times review of the show, criticBen Brantley noted "Mr. Guettel establishes himself as a young composer of strength and sophistication, weaving strands from the Americana ofCopland and the uneasy dissonance of Sondheim". Later, Guettel would say that it was his time working onFloyd which made him certain that he would spend his life writing music for the theatre.[15]
The second project he developed with Landau and Sperling was a song cycle titledSaturn Returns (recorded asMyths and Hymns). The piece musicalizes pieces of mythology, including the stories ofHero and Leander,Icarus,Medusa, as well as classic hymns. Discussing its genesis, Guettel stated "I had been writing these myths just because I was just starting out as a writer, and you don't know what to write. I did stuff that was tried and true. That was enough to keep me busy. Then I came across this book in an old antique shop... And it was just the words to a bunch of hymns... For some reason out of this Upper West Side Jew comes all of this music to these hymn lyrics". At first, Guettel was adapting the hymns and myths as separate projects, until Landau suggested they would work well together. "And we realized in some ways that the hymns are who we would have ourselves be, and the myths are basically who we are, and that they can kind of antiphonally talk to each other", said Guettel, in a 2021New York Times interview on the onlineMasterVoices production of the piece.[16] The piece was performed atThe Public Theater and was later recorded byNonesuch records with performances byBilly Porter,Mandy Patinkin,Kristin Chenoweth, and Guettel himself.
Guettel has written bespoke songs, including several songs throughoutAudra McDonald's discography. Her 1998 albumWay Back to Paradise includes his songs "Come to Jesus" (fromMyths and Hymns), "A Tragic Story", "Baby Moon" and "The Allure of Silence". Her2000 album's namesake is the closing number ofFloyd Collins, "How Glory Goes", and also includes "Was That You". Her 2006 album is named after his song "Build a Bridge" and also includes "Dividing Day" (fromThe Light in the Piazza). Her 2018 album,Sing Happy includes "March is a Windy Month" (fromMillions). In 2003, it was announced that Guettel would be writing a new piece for McDonald which would have openedCarnegie Hall'sZankel Hall,[17] but this piece never came to fruition.[18]
In addition to writing music and lyrics for musical theatre, Guettel has writtenincidental music for plays such asLydie Breeze (2000), as well as film scores. In summer 2007, Guettel composed incidental music for a production ofAnton Chekhov's playUncle Vanya at theIntiman Playhouse inSeattle,Washington.[19]
In 1999, Guettel performed a concert evening of his own work at New York'sTown Hall with guests such asKristin Chenoweth, Audra McDonald,Billy Porter,Jubilant Sykes and Theresa McCarthy. At first, Guettel resisted doing this concert at all, believing that his work had been heard enough in New York City, and he wanted to focus on writing something new, rather than having songs he had already written performed. It was Robert Hurwitz, the president ofNonesuch Records at the time, who insisted Guettel do the concert. Guettel has also contributed original scores to several documentary films, includingArguing the World andJack: The Last Kennedy Film. In 2004, Guettel contributed vocals toJessica Molaskey'sP.S. Classics albumMake Believe, dueting with Molaskey on his grandfather's song "Glad To Be Unhappy". Guettel also sang on albums byRicky Ian Gordon,John Buccino, and starred oppositeMeryl Streep in the film The Music of Regret, singing several songs as aventriloquist dummy. In 2001, he was set to sing as Charles on a studio recording ofEvening Primrose. Guettel was beginning to write The Light in the Piazza, saying "bells were ringing, and things were starting to come out of me", and wanted to focus on his own work, rather than his mentor, Sondheim's. Guettel was told by the producer of the album that it would not be a problem if he left the project, and that they would replace him withNeil Patrick Harris. After Guettel quit, he opened his mailbox to find a "withering" letter from Sondheim. They quickly reconciled. From then on, Guettel would primarily work as a composer/lyricist.[6]
AfterFloyd Collins, Guettel reportedly hoped to work on a love story.His mother suggested an adaptation that she had once pitched toher father,The Light in the Piazza byElizabeth Spencer. Guettel worked on the project for 6 years, working with several book-writers, including his Godfather, Arthur Laurents, andAlfred Uhry.[3] According to Guettel, he and Uhry did not "get a lot done" together. Soon after, Guettel received a fellowship fromSundance, eventually leading to his collaboration with bookwriter,Craig Lucas.[20] At the Sundance Theatre Laboratory in 2002, Lucas & Guettel collaborated with directorMichael Greif. Greif did not continue with the project, but would reunite with Guettel and Lucas nearly 20 years later, onDays of Wine and Roses.[21]Kelli O'Hara also joined the project at Sundance, originally playing the role of Franca. The Light in the Piazza went on to make its world premiere production at Seattle'sIntiman Theater, where Lucas also directed the piece. Guettel asked the theater to not mentionhis grandfather in the advertising material.[3]Bartlett Sher eventually replaced Lucas as director.
Guettel co-orchestrated the musical with Ted Sperling andBruce Coughlin.The Light in the Piazza opened on Broadway in 2005. The show, which starredVictoria Clark andKelli O'Hara, met with mixed critical notices, but on June 5, 2005, Adam Guettel won theTony Award for Best Original Score and theTony Award for Best Orchestrations. The show was filmed for and aired onPBS.
He spent much of the period from 2005 to 2007 working on a musical adaptation ofThe Princess Bride with original screenwriterWilliam Goldman. As of January 2007, Guettel had written the music for ten songs for the project. An orchestral suite from the score was performed at the Hollywood Bowl in November 2006, andLincoln Center conducted a workshop ofBride in January 2007. The project was abandoned when Goldman reportedly demanded 75 percent of the author's share, even though Guettel was writing both the music and the lyrics.[22]
Despite this major blow, Guettel recalls thinking “I'm not going to give up, I don't care. I'm just not going to.”.[23]
In July 2009, theSignature Theatre ofArlington, Virginia, commissioned Guettel to write a new musical for their 2011–2012 season, under the auspices of their American Musical Voices Project.[24] This would reportedly be a musical adaptation of theDanny Boyle filmMillions. Other projects in development included an opera based on the short stories ofWashington Irving.[25]
Guettel wrote the original score for the original Broadway production of the playTo Kill a Mockingbird (2018), for which he received aTony Award nomination.
The idea to adaptJ.P Miller'sDays of Wine and Roses into amusical came to Guettel twenty years before it came to broadway. He was working onThe Light in the Piazza withKelli O'Hara, when they began formulating an idea for a "weird dark opera" adaptation of Miller's story. Guettel, and eventual bookwriter,Craig Lucas, had both struggled with alcoholism, which they say informed the development of the piece.
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When he began writing it, Guettel received criticism from friends who did not believe such a tragic tale should be musicalized. “My response was, ‘Well,Sweeney Todd wasn't exactly someone you had over for Sunday brunch.’”. The piece became centered around O'Hara as Kirsten Arnesen, the role made famous byLee Remick, and Brian d'Arcy James, who worked with Guettel on Floyd Collins and Myths and Hymns, as Joe Clay, the role made famous byJack Lemmon.
Despite the show having an ensemble, Guettel chose to only have the central couple and their daughter sing. “For me, it was the most important piece that I’ve ever done in that sense that I could really sculpt this for these two great artists,” Guettel said.[26]
In January 2023,Atlantic Theater Company announced an eight-week world premiere production ofGuettel's adaptation ofDays of Wine and Roses, with music, lyrics, and orchestrations by Guettel, book by Craig Lucas (Guettel's collaborator onThe Light in the Piazza, almost 20 years previously), and direction byMichael Greif. The production starredKelli O'Hara andBrian D'Arcy James and was the first full production of a new musical by Guettel sincePiazza.[27][28]Days of Wine and Roses moved to Broadway, premiering on January 6, 2024, for a 16-week run.[29][30]
Shortly afterDays of Wine and Roses closed on Broadway, it was announced that Guettel's musicalMillions would make its world premiere at theAlliance Theater. The production was directed by Guettel's longtime collaborator,Bartlett Sher, with a book byBob Martin.[31] The musical is based on theDanny Boyle film of the same name, which Guettel saw as “a wonderful movie with a huge heart. Some of the important characters are a little bit underwritten and under-realized – which is always a good thing for those of us who want to adapt to the stage". Guettel was attracted to the movie's combination of "soft and hard" elements. When Guettel first began writing the piece, in 2014, his mother died, connecting him to the plot of the piece, which centers around the loss of a mother. Guettel said he believes “Millions” is at its best "when that membrane between what's terrestrial and celestial starts to become penetrable". The show received mixed-positive reviews during its out of town tryout.
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In June 2024, it was announced thatFloyd Collins would come to Broadway as a part ofLincoln Center Theater's 40th Anniversary season. Plans to revisit the piece had been years in the making, with Landau saying she and Guettel were "never really done" with the piece. Guettel and Landau did a rewrite of the show, with many of the "colloquialisms" being taken out of the book, as well as changes on a deeper level. These rewrites included a new version of the song "And She'd Have Blue Eyes", with Guettel writing a second half to the song, which was sung by Jeremy Jordan in this production. Guettel additionally made changes to the songs "'Tween a Rock", "Lucky", "Daybreak", and "The Riddle Song". Many of the songs also got new titles to match the Guettel and Landau's vision. The aeformentioned "Tween a Rock" was originally "Tween a Rock an' a hard place", and "Git Comfortable" was renamed "Get Comfortable". The duo also moved thearia, "It Moves", from the beginning of the show to the middle of act two.[32]
Guettel and Landau were nominated for a Tony Award for Best Revival of a Musical for this production. ACast Recording was made by Center Stage Records. Guettel co-produced the record with Lawrence Manchester and Ted Sperling. The album charted in 19 countries, reaching 21 on theITunes charts.[33]
Another major aspect of Guettel's career is his work as a teacher. Since 1995, he has taught masterclasses and seminars in musical theatre performance and songwriting, considering this to be an important complement to his work as a composer. He has led such classes atDePauw University,DePaul University,New York University,Pace University,Harvard University,Yale University,Princeton University,Emerson College,Elon University,The Boston Conservatory,Southern Methodist University,Syracuse University,Wagner College and many others. Guettel also teaches singers privately, as well as leading masterclasses at his home studio. Guettel has led two voice masterclasses withNATS, one in 2023 and one in 2025,[34] and co-taught a masterclass with Craig Carnelia at his home studio in 2024.
Guettel received an honorary doctorate fromLehman College in 2007, and was made an honorary member of theRoyal Academy of Music in 2019.[35] He is a founding board member of Vermonters for a Clean Environment.
Early on, Guettel's music was almost immediately characterized by its complexity and chromaticism. Early in his career, when asked about his approach to music, Guettel stated "to me, harmony is a continuum from Gregorian stricture to atonal chaos. And my music obviously lands somewhere in between there and occasionally accesses either pole. To me harmony is just a way of creating emotional syntax in songwriting or in music making, or in storytelling with music. Emotional syntax for me comes through harmony. Harmony as an emotional tool, I think, is predominately a tonal thing, as far as how it effects the listener. And dissonance is another color, it's another thing that is emotionally useful."[20]
His major influences includeIgor Stravinsky,Maurice Ravel,Claude Debussy,Benjamin Britten, andStevie Wonder.Stephen Sondheim has referred to Guettel's work as "dazzling."[36] In an interview, Guettel stated a portion of his influences that includedI. M. Pei,Louis Kahn,Vincent Scully,Jane Jacobs,Igor Stravinsky,Stevie Wonder,Adam de la Halle,Harry Nilsson,Ruth Bader Ginsburg,Björk,Erich Wolfgang Korngold,Benjamin Britten,William Inge,Stephen Sondheim,Jody Williams, andMarvin Gaye.[37]
Guettel has had a lengthy recording career. He began the career as a session musician, playing bass on the recordsDuke Ellington's Pousse-Cafe, Ellis Larkin Plays, and the original broadway cast recording ofAndrew Lloyd Webber'sSong and Dance. Since then, he has moved on to producing. He has produced the original broadway cast albums of the two most recent productions of his own musicals,Days of Wine and Roses andFloyd Collins, as well as producing the 2025 Broadway Cast Recording ofOnce Upon a Mattress.
| Year | Title | Role | Notes |
|---|---|---|---|
| 1997 | Floyd Collins- Original Cast Recording | Composer/Lyricist/Guitar | |
| 1998 | Audra McDonald: Way Back to Paradise | Composer/Lyricist/Vocalist | |
| 1999 | Myths and Hymns-Original Cast Recording | Composer/Lyricist/Vocalist | |
| 2000 | Audra McDonald: How Glory Goes | Composer/Lyricist | |
| 2000 | Billie Stritch: Jazz Live | Composer/Lyricist | |
| 2001 | Stars and the Moon: Betty Buckley Live at the Donmar | Composer/Lyricist | |
| 2002 | Jack Donahue: Lighthouse | Composer/Lyricist/Vocalist | |
| 2005 | Billy Porter: At the Corner of Broadway + Soul | Composer/Lyricist | |
| 2005 | The Light in the Piazza: Original Broadway Cast Recording | Composer/Lyricist | Also sings on bonus tracks: "Dividing Day (Demo)" and "Love to Me (Demo)" |
| 2006 | Audra McDonald: Build a Bridge | Composer/Lyricist | |
| 2007 | David Burnham | Composer/Lyricist | |
| 2007 | Victoria Clark: Fifteen Seconds of Grace | Composer/Lyricist | |
| 2007 | Lauren Kennedy: Here and Now | Composer/Lyricist | |
| 2007 | Kelli O'Hara: Wonder in the World | Composer/Lyricist | |
| 2008 | John Treacy Egan: Count the Stards | Composer/Lyricist | |
| 2009 | Robyn North: Make Believe | Composer/Lyricist | |
| 2011 | Kelli O'Hara: Always | Composer/Lyricist | |
| 2013 | Judy Kuhn: All This Happiness | Composer/Lyricist | |
| 2013 | Audra McDonald: Go Back Home | Composer/Lyricist | |
| 2017 | Bob Mundy: Love to Me | Composer/Lyricist | |
| 2018 | Renee Fleming: Broadway | Composer/Lyricist | |
| 2018 | Audra McDonald: Sing Happy | Composer/Lyricist | |
| 2023 | Days of Wine and Roses- Original Cast Recording | Composer/Lyricist/Producer | |
| 2025 | Floyd Collins- Original Broadway Cast Recording | Composer/Lyricist |
| Year | Title | Role | Notes |
|---|---|---|---|
| 1998 | Audra McDonald: Way Back to Paradise | Composer/Lyricist/Vocalist | |
| 1999 | Myths and Hymns-Original Cast Recording | Composer/Lyricist/Vocalist | |
| 2000 | Grateful: The Songs ofJohn Bucchino | Vocalist | |
| 2001 | Bright Eyed Joy: The Songs ofRicky Ian Gordon | Vocalist | |
| 2002 | Jack Donahue: Lighthouse | Composer/Lyricist/Vocalist | |
| 2004 | Jessica Molaskey: Make Believe | Vocalist | |
| 2005 | Michael Feinstein Presents: B.J. Ward Sings Marshall Barer | Vocalist/Vocal Engineer | |
| 2005 | The Light in the Piazza: Original Broadway Cast Recording | Composer/Lyricist | Also sings on bonus tracks: "Dividing Day (Demo)" and "Love to Me (Demo)" |
| Year | Title | Role | Notes |
|---|---|---|---|
| 2023 | Days of Wine and Roses- Original Cast Recording | Composer/Lyricist/Producer | Co-Produced withLawrence Manchester and Jamie Lawrence |
| 2025 | Once Upon a Mattress- Broadway Cast Recording | Producer | Co-Produced withLawrence Manchester,Amy Sherman Palladino, Mary-Mitchell Cambell, and Jenny Gersten |
| 2025 | Floyd Collins- Original Broadway Cast Recording | Composer/Lyricist | Co-Produced withLawrence Manchester andTed Sperling |
| Year | Title | Role | Notes |
|---|---|---|---|
| 1985 | Song & Dance- Original Broadway Cast Recording | Bassist | Assisted John Mauceri on the Broadway Production |
| 1992 | Ridiculous Theatrical Company 25th Anniversary | Engineer | |
| 1992 | Duke Ellington's Pousse-Cafe | Bassist | |
| 1994 | Ellis Larkin Plays | Bassist | |
| 1997 | Floyd Collins- Original Cast Recording | Composer/Lyricist/Guitar | |
| 2005 | Michael Feinstein Presents: B.J. Ward Sings Marshall Barer | Vocalist/Vocal Engineer |
Music and lyrics
| Year | Title | Venue | Ref. |
|---|---|---|---|
| 1996 | Floyd Collins | Playwrights Horizons,Off-Broadway Vivian Beaumont Theater, Broadway (2025) | [38] |
| 1998 | Myths and Hymns (akaSaturn Returns) | The Public Theater | |
| 2005 | The Light in the Piazza | Vivian Beaumont Theater, Broadway New York City Center (2023) | [39] |
| 2006 | The Princess Bride | Hollywood Bowl | [40] |
| 2024 | Days of Wine and Roses | Studio 54, Broadway | |
| 2025 | Millions | Alliance Theatre | [41] |
| Year | Title | Role | Notes |
|---|---|---|---|
| 1993 | Jack: The Last Kennedy Film | Composer | Fox Documentary |
| 1997 | Arguing the World | Composer | PBS Documentary |
| 2011 | The Legacy Project: In Conversation with Stephen SondheimDramatists Guild Foundation | Himself | Documentary |
| 2016 | Best Worst Thing That Ever Could Have Happened | Himself | Documentary |
| Year | Title | Role | Notes |
|---|---|---|---|
| 2006 | Live from Lincoln Center | Composer | Episode: "The Light in the Piazza" |
| 2006 | The Music of Regret | Singer | Short film starringMeryl Streep. |
| 2011 | The Miraculous Year | Composer | Television movie |
Other projects
| Year | Association | Category | Project | Result | Ref. |
|---|---|---|---|---|---|
| 2005 | Tony Awards | Best Original Score | The Light in the Piazza | Won | [44] |
| Best Orchestrations | Won | ||||
| 2019 | Best Original Score | To Kill a Mockingbird | Nominated | [45] | |
| 2024 | Best Original Score | Days of Wine and Roses | Nominated | [46] | |
| 2025 | Best Revival of a Musical | Floyd Collins | Nominated | ||
| 1996 | Drama Desk Awards | Outstanding Music | Floyd Collins | Nominated | |
| Outstanding Orchestrations | Nominated | ||||
| 2005 | Outstanding Music | The Light in the Piazza | Won | ||
| Outstanding Lyrics | Won | ||||
| 2024 | Outer Critics Circle Awards | Outstanding Score | Days of Wine and Roses | Nominated | |
| Outstanding Orchestrations | Nominated | ||||
| 1990 | Stephen Sondheim Award | Won | |||
| 1997 | ASCAP New Horizons Award | Won | |||
| 2005 | The American Composers Orchestra Award | Won | |||
| 2024 | The Frederick Loewe Award | Achievement in a Theatrical Score | Days of Wine and Roses | Won |
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