Interview: Ever Busy Music Wiz Dan Redfeld On His LITTLE WOMEN & Countless Other Projects

A new musical adaptation of Louisa May Alcott's Little Women will debut in two concert performances - March 6th at the Knitting Factory in North Hollywood and April 24th in New York's 54 Below. The cast of Jenna Lea Rosen, Chris Mann, Terron Brooks, Ali Ewoldt, Kim Huber, Sophie Pollono, Kyla Stone, Devon Davidson, Barbara Carlton Heart, Miyuki Miyagi, Payson Lewis and Jater Webb will perform the songs by composer Dan Redfeld and lyricists Christina Harding and John Gabriel Koladziej. Dan was able to answer a few of my queries between rehearsing both Little Women and The Secret Garden at the Ahmanson.

Thank you for taking the time for this interview, Dan!

You originally workshopped Little Women in 2001 in Los Angeles and New York with Elaine Stritch and Deborah Gibson. Has your score changed any since then?

The majority of the score hasn't changed. There are two new songs, things have been moved around, there are a bunch of cuts and I've changed a few things harmonically. And we've incorporated a few things Elaine suggested back in the day which improved the piece.

What first drew you into the Louisa May Alcott's universe? Christina Harding and John Gabriel Koladziej?

Christina and John are two of my oldest friends. What drew me to the piece was Gillian Armstrong's adaptation in 1994. The film with Winona Ryder. I fell in love with the story, the emotion, Thomas Newman's score, all of it. I saw the film five times in the theatre and then purchased the novel. I just felt it needed to be musicalized. The first thing I wrote was "Fly Away" in mid-1995 and just put it away. The song never changed - the key, the structure. Christina and John came aboard in 1996 and the first lyrics they wrote were for "Fly Away."

I was also raised by a strong, single mother. I'm drawn to strong women and want the world to hear and accept their voices. I guess in some way writing this piece is my way of saying "thank you" to my mother. Thank you for providing me a good home, a nurturing and creative environment and for her constant love.

What would your three-line pitch of your Little Women be?

Our Little Women is a re-imagining that captures Louisa May Alcott's novel with a modern sentiment, digging deeper into the human condition of each character. It's filled with a rich, memorable score and soars with cinematic orchestrations harkening back to the great Broadway tradition of lush tunes, lyrics and a witty libretto. There's everything from romance to laughter to tears - it's perfect for a date night or the entire family.

Have you worked with any of the Little Women performers before?

All of them. A few are currently in The Secret Garden at the Ahmanson with me! Jenna Lea Rosen (JO) is the find of the century and is born to play this part. She has been a wonderfully creative partner in this process, and I've tailored the score for her voice.

Whose wonderful idea was it for portions of the proceeds from the March 6th concert to benefit Dolly Parton's Imagination Library?

Christina and John's idea.

Your Knitting Factory date is right in the middle of your The Secret Garden engagement at the Ahmanson. Good thing the Ahmanson is dark on Monday nights. Have you mastered juggling two shows at once? How are you squeezing in rehearsals for Little Women between your The Secret Garden duties?

By the time we perform Little Women, Secret Garden will be up and running. So, rehearsing Little Women won't be that difficult. I'll be overseeing understudy rehearsals for Secret Garden, but it shouldn't interfere and the majority of the Little Women cast have already been involved in readings and the studio demos we recorded in October 2022.

You will be conducting a concert version of your Little Women in Los Angeles and New York. Would the next step be a full-length production of it?

Yes, there is interest in bringing our Little Women to a full-length production in multiple artistic mediums.

You are credited as a composer, conductor, orchestrator, pianist and producer on your website. What did you specifically want to be growing up?

Ha. I want to be like John Williams, who has only gotten more complex musically with age. He still finds so much joy in music-making, and I hope to strive for that kind of artistry throughout my life. Music is oxygen - I can't live without it.

You graduated from UCLA with a degree in composition with an emphasis in conducting. Your instructors were a Who's Who of renown conductors. What specific lessons did you learn from Sir Simon Rattle? Zubin Mehta? From the many others?

At that time, UCLA's conducting department was heavily involved with the L.A. Phil. So whenever certain guest conductors came to conduct, they often did master classes with us. Some one-on-one but often long sessions where we asked questions. And then we were invited to watch them rehearse. What I've learned over the years, sitting in on rehearsals is really the best way to learn about conducting. Rehearsal technique is 50 percent of the job, then score prep, how you spend time working it out in your head and lastly stick technique. We also worked with Esa-Pekka Salonen and a particular favorite, Roger Norrington, whose Beethoven symphony cycle was pretty revolutionary during my college years. I will say this - Mehta's ears and knowledge of a score was astounding.

What gives you greater gratification: Performing in front of an audience? Or creating behind the scenes?

Both. As a conductor, I love the thrill of a live performance and how it ebbs and flows. Particularly in the theatre, where so many things can go wrong. I adore working with vocalists and instrumentalists - there's nothing more thrilling.

But I also love being a composer. The solitary time at the piano writing music is very peaceful and fulfilling. I'm not a religious person, but I always have faith that inspiration will be there. It never fails. And inspiration, the sheer act of bringing anything artistic to life, does come from something divine. The added bonus of creating alone and then weeks later realizing it on a scoring stage or in a theatre is the most gratifying experience of all. Hearing how your work grows in the hands of talented actors and musicians is truly magical.

I would love to ask you about the forty-plus musicals and twenty-five film scores and countless other projects you've worked on, but we'd be talking for way too long. If I throw out a name, would you say one word or one sentence about them?

Disney's Beauty & The Beast (with Susan Egan):

The dream of a lifetime and so surreal. Susan's a good friend, too.

The Who's Tommy (with Alice Ripley):

Awesome show. Alice is a joy to work with and just a cool human. We had some seriously fun times.

My Fair Lady (with Jonathan Pryce and Laura Michelle Kelly):

Bucket list experience in regard to Jonathan. And Laura is amazing.

Matthew Morrison: Quiet brilliance.

"Les Miserables" Fantasy:

Fun to reimagine something so well known for a concert hall chamber group!

Beaches - A New Musical:

I made many new friends in Chicago. Talk about a fine, tight pit orchestra.

Elaine Stritch:

Infuriating, funny, creative, brilliant, impeccable timing, and she lives on in a few places in "Little Women."

John Williams:

Inspiration, artistry, the epitome of everything a human should strive for.

James Cameron:

Sheer brilliance blessed with a singular vision.

Shirley Jones & Patrick Cassidy:

Shirley is a legend. I adore her. And she can tell some great stories. Patrick is a buddy. A joy to work with and so passionate.

A Hopeful Place - A Song Cycle for Soprano & Chamber Orchestra (for Kristi Holden):

Like all my work, imperfect but filled with some nice moments. We're currently relaunching the piece for performances with symphonies with soprano Sara Jean Ford attached.

What or whom are you most proud of from the Los Angeles Opera's Secondary In School-Opera that you have conducted since 2003?

The children who participate in this program. Their imaginations are sparked, and I've seen the power of theatre and music hit many of them. It shows them they have voices which should be heard.

What else is on Dan Redfeld's plate this year?

I'll be conducting Ralph Vaughan Williams' "Dona Nobis Pacem" in May. We're also giving the west coast premiere of John Williams' "Gloria from Monsignor" at the same concert. I have more concerts on the horizon, but my attention will now be primarily focused on Little Women" my song cycle A Hopeful Place and the new show Christina, John and myself are finally sitting down to write.

Thank you again, Dan! I look forward hearing you both at the Knitting Factory and at the Ahmanson.

For tickets to the March 6th performance of Little Woman at the Knitting Factory; click on the button below: