Interview: Lauryn Gaffney Brings New Musical JILTED to 54 Below

What does it take to bring a musical from concept to stage? Irish composer Lauryn Gaffney knows firsthand as she prepares to unveil her latest creation Jilted at New York’s prestigious 54 Below. Following the international success of her debut musical Big Shot, which earned five BroadwayWorld Awards and played in Ireland, London, Mexico, and Off-Broadway, Gaffney continues to develop her distinctive voice, crafting emotionally resonant stories with melodies that linger long after the final curtain.

Jilted explores the journey of an American woman in Ireland rebuilding her life after being left at the altar, weaving themes of friendship and self-acceptance throughout its narrative. This concert production is set to bridge cultures with a cast of both Irish and American performers. We sat down with her to chat about her creative process, the challenges of developing Jilted, and where she hopes this musical will go next.

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If you could have dinner with any musical theatre composer or lyricist (past or present), who would it be?

What an amazing question! This is a tough one because there are so many phenomenal composers I’m influenced by and I’d love to have dinner with! Can I say two?

If so, Jonathan Larson. After watching Tick, Tick... Boom! on my 30th birthday, I never related to a character more in my life. His compositions are catchy, his lyrics were ahead of their time, and as a person he seemed to be, well… a tonic! It’d be magical for him to see the profound impact he had on the musical theatre world.

Also, how could I not say Pasek & Paul? Their ability to tap into raw, emotional storytelling while still writing melodies that stick in your head for days is genius. Dogfight, Dear Evan Hansen, The Greatest Showman—their work hits you right in the gut. I’d love to pick their brains about their creative process and how they manage to stay so honest in everything they write.

But honestly, narrowing it down is so hard. From Sondheim, Stephen Schwartz, Laurence O’Keefe and Nell Benjamin, to Alan Menken—it’s a long, gigantic, flamboyant dinner party in my head!

Your first musical, Big Shot, achieved international success. How did that experience prepare you for creating and showcasing Jilted?

After spending years writing and co-producing Big Shot, it taught me more lessons than I could’ve ever imagined. It was a full-on boot camp: writing under pressure, collaborating with musicians and actors, and learning how to stay creative even when things felt chaotic.

Big Shot was very much an original story, but not one drawn from personal experience— after all, it was about murder, love, and coffee—which I don’t even drink. Jilted, on the other hand, feels much more personal. I haven’t been left at the altar (…yet), but there’s definitely more of me in this one.

When Ken Davenport came to Ireland to see Big Shot, he gave me advice that really stuck: “Put more of you in the next show and write what you know.” That stayed with me. With Jilted, I did exactly that. These characters feel like people I know—some are inspired by friends, family, and maybe even parts of myself. Their humor, flaws, and relationships come from a very real place.

Big Shot gave me the confidence to be vulnerable—to bring more of myself to the work. I hope that Jilted is a reflection of that growth.

Jilted explores themes of heartbreak, friendship, and self-discovery. What motivated you to tell this particular story, and how do you hope audiences will connect with it?

I’ve always been fascinated by that moment when life doesn't go to plan—when you’re forced to confront who you are without the person, the job, the future you thought you had. Jilted started from that place. I was interested in what happens after the heartbreak, when the world keeps spinning but you’re standing still, trying to piece yourself back together.

What really motivated me was the idea that healing doesn’t have to be quiet or graceful—it can be messy, funny and awkward. I wanted to write a story where the heartbreak is real, but the humour is just as strong. Because that’s what I’ve seen in real life—people finding strength and managing to laugh  in unexpected places, even while everything feels like it’s falling apart.

My hope is that audiences see themselves in these characters, whether they’re the one who’s been left, the friend picking up the pieces, or just someone figuring out who they are. Female friendships and learning to love yourself is the core of this show.

What were some of the biggest challenges you faced while developing Jilted, from writing to casting to bringing it to 54 Below?

Writing Jilted was a funny one. I had finished adapting a Cecelia Ahern novel—she’s amazing!—with Andy Vitolo and something compelled me to start writing an original piece again. When I began creating the show I had no idea what it was going to be about but ‘Unconditional Love,’ one of the main songs in the show,  just popped into my head. I knew then I wanted it to be about learning to love yourself—I think we’re all trying to figure that out, right? Writing it was fun, scary and exciting.

Workshopping it with the phenomenal performers in Ireland was magical. I was terrified thinking ‘Will they like the music or was it just good in my head?’ Then people would walk by the rehearsal room and ask where they could get tickets and we didn’t even have a show yet! That was surreal!

Bringing Jilted to 54 Below is incredibly exciting—but I won’t lie, it’s also scary! I’m definitely an over-thinker, and I tend to second guess myself when it comes to promotion. One of the biggest challenges has been marketing the show from Ireland and we have a very short rehearsal window. But I feel so lucky with the cast we’ve put together—a beautiful mix of Irish and American musical theatre performers, all of whom are unbelievably talented. Some of the casting moments were so serendipitous, it honestly felt like the universe was nudging everything into place. I’m just really, really grateful.

What has it been like navigating the cultural and professional differences between Ireland and the U.S. theatre scenes? Did collaborating with both Irish and American performers add any unexpected layers to the show?

There’s something really special about watching Irish and American performers share a space. It’s been so much fun seeing the American cast take on Irish characters—it adds a whole new layer to the story.

Professionally, there are definitely some differences in how things are run, but at the heart of it, it’s the same: it’s all about storytelling and bringing characters and music to life. I’m so excited to be in the room with everyone next week and see how these two cultures blend. I really think it’s going to create a fresh, dynamic energy—and I think audiences are going to love it.

If Jill from Jilted could give advice to Lauryn during a challenging moment in your life, what do you think she’d say?

She’d probably say: ‘Cherish today, because tomorrow isn’t guaranteed. Love your friends—they’re irreplaceable. And just try your best to love yourself… even on the days it feels hardest. You’re doing better than you think.’

Can you share your vision for the future of Jilted? What are the next steps in your journey with this project?

I still believe it’s early days for Jilted. I’m so excited to hear these amazing actors and musicians bring the music and script to life at 54 Below—it’s such a special milestone. Looking ahead, my vision is to workshop the show fully, to develop it into the strongest version it can be. I’d love to collaborate with artists who believe in the story and want to help shape it into a full production.

I’m also hopeful about connecting with a producer, general manager, or director who can help elevate the piece and take it to the next stage. There’s so much potential here and I’m excited.

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Learn more about Lauryn Gaffney on her website on Instagram @lauryngaff

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