[NoHo Arts District, CA] – A NoHo Arts theatre interview with All Roads Theatre Company on kicking off their 2025 season with the world premiere musical One for My Baby, presented in association with Fred Barton, Sheri Clark Henriksen, Jeramiah Peay and Brian Zucker with music by Harold Arlen, lyrics by Ted Koehler, Johnny Mercer, E.Y. Harburg and Ira Gershwin, book by Scott Thompson and Fred Barton with music arrangements by Conductor Fred Barton, directed and choreographed by Scott Thompson.
About One for My Baby
It’s 1947, and in one of the city’s hottest nightclubs, Dreamland, there’s trouble and heartbreak and thwarted ambitions… classic Hollywood film noir. Set against the jazz world, with the criminal underworld along with players from struggling actors to the social elite. One for My Baby features 24 iconic Harold Arlen songs, including Get Happy, Stormy Weather, Man That Got Away, and, of course, the title song, One For My Baby.
I literally can not wait to see One for My Baby. Last year’s All Roads Theatre Company’s Mack & Mabel, starring Dermot Mulroney, Jenna Leas Rosen and Caroline O’Conner, was an absolute smash hit…it almost blew the roof off the El Portal Theatre. Now, they are back with something entirely new and all their own.
Musicals are notoriously tough to produce and we had a lot of questions for the Producers Scott Thompson and Fred Barton. But they have an incredible cast, too, so we wanted to hear a little from the two leads, Lana Gordon and Luba Mason. So we asked them all a million questions to find out more about the show and how they got to NoHo’s historic El Portal Theatre.
Questions for One for My Baby creators Scott Thompson and Fred Barton:
One for My Baby is an original story with some of the most iconic songs of the 20th century. How did this project come together?
Scott Thompson:
One for My Baby has been brewing in my head for 40 years unofficially and around 16 years officially. In college, my senior project was directing and choreographing a Harold Arlen musical revue, which I called “Get Happy.” I even visited the Library of Congress in DC to research and pull obscure Arlen songs for the project. Well, the revue was a success and I did get an “A.”
Officially, I contacted Sam Arlen (Harold’s son) about a book musical featuring his dad’s music 17 years ago and the show took about six months to write. A New York workshop followed, plus an elaborate Demo recording which featured the likes of Carolee Carmello, Anika Noni Rose and Gavin Creel followed. The show was then optioned for Broadway twice. Once, the producer passed away in an untimely fashion and the second time around the producer involved was a wrong match for the creative team. At one point, the show was to make its world premiere at the Pasadena Playhouse, then in London’s West End and each time, an unexpected complication occurred. It was extremely hard and very frustrating – so many people loved the show and yet that crucial first production was eluding us. It didn’t help that this was no mini musical but a full-scale theatrical spectacular.
Finally, when I opened the All Roads Theatre Company, I decided that we’d do the world premiere ourselves. And here we are!
Fred Barton:
My collaborator Scott Thompson had had the concept of a Harold Arlen musical for quite some time. Harold Arlen is acclaimed as one of the best and most original songwriters in history, both by his songwriting peers of his day (Gershwin, Berlin, et al.), and the stars who originated and have recorded his songs (Garland, Horne, Streisand, Sinatra). And yet he alone, among all the greatest songwriters of the 20th century, has not had a new show, revival, or tribute on Broadway in over 60 years (Gershwin, for instance, has had five since 1980). So we felt strongly that we had to fix that.
We listened very carefully to his entire catalogue of epic songs to tell us what kind of musical this had to be. And while Arlen was a master of many styles (from his early honky-tonk revue material, to The Wizard Of Oz, to the mature songs of A Star Is Born), I felt that overall, he had a sophisticated urban sensibility that underlies all his work – and a social conscience ahead of its time. That led us to set the show in what I call our “mythological urban nightclub,” where characters from all walks of life meet and affect each other in that dramatic, heightened, post-WWII period of great social change. Scott made his first draft of the story and its characters, and then we rolled up our sleeves to make them speak and sing – always working on it as if Harold Arlen and his lyricists were right there in the room with us, collaborating on bringing the story to life through the songs.
How did you pick your One for My Baby team?
Scott Thompson:
The team is composed of people I trust. Fred Barton (my co-author and musical arranger) and I have been friends and collaborators for 30 plus years, Paul Black the set and lighting designer and I also have a nearly 30 year relationship, costume designer Shon LeBlanc, Prop Designer Bouket Fingerhut and my stage management team did such brilliant work on our inaugural production MACK & MABEL that it was no brainer – we had to have them return.
Fred Barton:
Scott and I met almost 35 years ago here in Los Angeles, and over those years, we have collaborated on about 30 musicals and concerts. And with that many projects, one develops a pretty tight list of the best and most talented people to work with, from my Broadway and concert hall work to all the countless Los Angeles, New York, and regional productions Scott has produced all over the country. And part of an endeavor such as this one is that the teacher self-selects! We announced our new theatre company, and within 24 hours we had a great list of all who phoned and wrote us among all the fantastic Los Angeles talents in all departments. Of course, we’ve added to that list and honed it into a “lean, mean fighting machine” of theatrical killer-dillers who know how to do the kind of no-holds-barred showstopping theatre we aim for.
This is an incredible group of performers! Casting for One for My Baby must have been an adventure! How long did it take?
Scott Thompson:
Casting was incredibly difficult. So many of the roles require true triple-threat performances. Soaring voices, incredible acting jobs and a very high level of dance skills. The incredible Lana Gordon came to me through our brilliant casting director Stephen DeAngelis in New York City and Luba Mason was the original leading lady of our New York workshop. Audiences will be dazzled by them and this astounding multi-racial cast culled from the best of Broadway and Los Angeles talent.
Fred Barton:
We certainly didn’t make it easy on ourselves because we wrote a show requiring monuments of talent – triple-threats of the highest order in dancing, singing, and acting. This comes from Scott’s and my shared love of the Golden Age of motion pictures, when MGM and its peer studios had those incredible pools of the best talent on the planet on contract. Our new show ONE FOR MY BABY is a valentine to the all-star movies of the studio system; but where the studios could just call up their roster’s best for this or that project, we had to go out and find the formidable talents who WOULD have been contract players and stars of that day and age. So it took perhaps a few months to cast this production with Lana Gordon and Luba Mason leading a cast of 28 additional terrific performers.
Producing a musical is a labor of love, but does a period piece make it even more work?
Scott Thompson:
Of course, getting the period details right are incredibly difficult, but I think that this returns to the casting issues. Finding performers who also understand the stylization of the period work, particularly in creating the feel of the old Hollywood films (a heavy influence on both Fred and I as we wrote the show), just added another layer of difficulty.
Fred Barton:
I would say not. A musical is like building a gigantic rocket shop, intended to go to the outer reaches of space, and every single tiny piece of the human elements, the hardware and software, has to work in perfect synchronicity with every other piece. This remains true whether the project is the latest rock opera or a finely-tuned epic redolent of a given period. If anything, period projects can be based on everyone’s common understanding of the era in question, and there’s a wealth of information and reference points for every phase of any one period. But, as the Wicked Witch of the West said in Arlen’s WIZARD OF OZ, “These things must be done de-e-e-elicately!” For instance, in my department, with the assignment of determining and creating the show’s musical sound world, there are countless considerations; it’s not enough to say, “Oh, post-WWII, we’ll do the big-band sound.” Well, which big-band sound? The “Sweet Bands” of the 30s, the classic War Era big bands, the increasingly complex harmonies of the late 40s and early 50s? Arlen rivaled Jerome Kern in his harmonic complexity, but continued to write some of his best work into the 40s and 50s, so I wanted to give the audience the full experience of Arlen’s outstandingly original harmonies and progressions – with a tip of the hat towards the later sounds as well, so it’s very much of today and not simply a musical documentary fit for the Smithsonian!
NoHo’s El Portal Theatre is one of L.A.’s oldest theatres. Why does it work for One for My Baby?
Scott Thompson:
The El Portal Theatre is an exquisite venue and a magnificent place to stage a large-scale Broadway musical, and that’s JUST WHAT THIS IS. It’s a major piece of work with a cast of 30, including Lana Gordon and Luba Mason who star in the show, a big band and lavish production values! The El Portal Theatre’s intimacy makes a show of this scope seem doubly impactful and exciting for the audience. Those who saw our MACK & MABEL definitely experienced that. I will say that community support is DOUBLE, TRIPLE important for this All Roads Theatre Company production, both ticket sales and contributions, in order to see that work of this high level and ambition continue in this venue and this neighborhood. We are hopeful for this support and that audiences will fully embrace this exciting new chapter in professional musical theatre right here in the Valley.
Fred Barton:
I love the fact that the El Portal Theatre has some of the grandeur of the movie palace days, which really began across the country during the Great Depression, when the movie companies (which owned all the theatres, before the monopolies were broken up in later decades!) wanted to give their patrons a huge uplifting experience from the second they walked into the lobby. I certainly miss that epic quality when I walk into the colder, more contemporary, un-grand theatres of later decades! And because our show One for My Baby has so many elements of the grand old movies built into its DNA, the El Portal Theatre is the perfect place for it; the audience will be feeling the era and world of the show from the minute they walk in, even before the curtain goes up.
What advice would you give an aspiring theatre producer?
Scott Thompson:
My advice to an aspiring theatre producer is to make sure you’re willing to give your whole heart and all your time to it. It will be ALL CONSUMING. Especially if you’re dealing with launching a new company and not just working on a single show. Communicating your passion is ESSENTIAL both to potential investors, and to those who you hope to bring onboard, artists, collaborators, etc. They must see that conviction and sparkle in your eyes and know that coming with you on this journey is something they wouldn’t want to miss! Theatrical producers have an uphill battle these days and they must be up for some challenges.
Fred Barton:
The world of theatre is a world of people. First and foremost, one must build the relationships in every direction of a new theatre project – relationships with fellow talents, forming a committed Board of Directors and community supporters, with the last the most important – as one notable individual once said, “It takes a village.” To paraphrase the song from the musical Chicago, “You can’t do it alone.” And best of all, that’s the fun of it to begin with! The old “let’s put on a show in the barn!” idea conveys the entire essence of the theatre – a terrific group of talented people on one side, in all departments, collaborating with a terrific group of people out front, namely the audience, who love and appreciate what theatrical production has to offer, which can’t be found anywhere else.
Questions for One for My Baby stars, Lana Gordon and Luba Mason:
What was it that drew you to this project?
Lana Gordon:
To originate a role has been a lifelong dream, and this experience has been nothing short of a dream come true. There’s something incredibly special about being part of a story from its very beginning, shaping a character’s journey, and bringing something brand new to life. It’s an honor beyond words.
Luba Mason:
I LOVE HAROLD ARLEN! In my opinion, he is THE BEST of the American Songbook songwriters. What also drew me to this project, was not only is this a great, great role for me to play and show off vocally, but I’m really rooting for Scott and Fred on this project. I was involved in the workshop of this show 12 years ago and I know the blood, sweat and tears that these two guys put into this piece to make it happen! And when I got the phone call and offer for the job, I immediately knew that I wanted to do it. The fact that it’s back and RUNNING after 12 years is a testament to Scott and Fred’s commitment and belief in the project.
What’s it like to perform these incredible songs with such a cast and this wonderful group of musicians?
Lana Gordon:
To stand among such an extraordinary group of artists, actors, musicians, and creatives is humbling, exhilarating, and deeply inspiring. Witnessing the creative process unfold, watching these brilliant minds at work, and feeling the sheer magic of collaboration every moment is a gift. The music, the storytelling, the energy we share is electric!
Luba Mason:
It will be such a treat to sing with a 12-piece band! That’s how these songs need to be heard. Which is unheard of anywhere else other than on Broadway. And Fred Barton’s orchestrations are a rarity in regional platforms. We’re lucky to have him as our musical director as well! And such a strong, solid cast. I believe people will be amazed at all the talent on our stage!
How do you prepare for a performance?
Lana Gordon:
My preparation is as much about body and soul as it is about technique. Solid Core Pilates keeps me physically strong, meditation keeps me centered, and warming up my voice ensures I’m vocally ready. And of course, prayer grounding myself in gratitude and intention before stepping into the world of the show.
Luba Mason:
You got a few days? Im a Broadway veteran so I’ve been around the block. And I know what it takes to do a 6-day/8-show a week performance. This show is not that, but in a nutshell, I need to keep myself healthy and in shape vocally and physically daily. On days I have performances, I focus my day (and night before) for the performance. I make sure my energy is peak for the performance.
How much rehearsal time do you have?
Lana Gordon:
Phew! Two weeks! It’s intense, but when passion fuels you, you find a way to make every moment count.
Luba Mason:
Not a lot at all. About two and a half weeks. It seems every show I have done lately, the rehearsal process is getting shorter and shorter. Budgets are being cut.
What is your process as an actor?
Lana Gordon:
I pour my whole self into a role my life, my experiences, my heart. I love discovering my character from within, finding the pieces of them that already live in me, and the parts that challenge me to grow. I dive deep, explore, and allow myself to be completely vulnerable. That’s where the magic happens when I surrender to the truth of the character and let them breathe through me.
Luba Mason:
I really like to rely on my instincts. So that means that I only do prep on character backstory, and then look at their arc in the show. Everything else I discover is live and what happens in rehearsal and in performance. I start to discover insights to the script and character as I perform. This is my favorite part of the process.
How would you advise an aspiring performer now, given that so many things have changed lately in show business?
Lana Gordon:
Every journey is unique, but if I could say one thing, it would be: follow your highest passion, relentlessly. The industry may shift, challenges may come, but when you’re aligned with what sets your soul on fire, doors open in the most unexpected and beautiful ways. Trust that.
Luba Mason:
This business is harder than you think. If you really want to make a career of it, meaning a long-term career and not just 15 minutes of fame on YouTube, you have to be dedicated, relentless, thick-skinned, patient and talented. Notice that I listed talented last. Talent alone is not enough.
What will you cherish most about this One for My Baby?
Lana Gordon:
Every single second. The lights, the music, the energy, the audience, the heart-pounding moments, the quiet ones; this is a once-in-a-lifetime experience, and I will hold onto it forever.
Luba Mason:
Getting to play “Torchy” Tess Fleming – a rich, glamorous society woman who has calamitous affairs with younger men.
Please tell us anything else you think we should know before we see the show.
Lana Gordon:
Come ready to feel, to be moved, to lose yourself in the story. This is a show born of love, passion, and pure artistic fire we can’t wait to share it with you!
Luba Mason:
I am overwhelmingly impressed with the energy of Scott Thompson, who wrote, choreographed and directed this show. He’s unstoppable and such a talent. He’s written a show from a by-gone era of glitz, glamour, big musical dance numbers and big band songs you can hum along to. A spectacle for the eyes in a 1940s post-war setting where boy meets girl doesn’t always turn out to be a happy ending. This is an old-fashioned BA-ROD-WAY MUSICAL to be swept away in.
Don’t we all need to have some fun?? We love musicals, and what could be better than a story that includes some of the greatest songs ever written…the classic American songbook? Thank you to everyone at All Roads Theatre Company for bringing this special show to the NoHo Arts District!
One for My Baby is playing at El Portal Theatre in a limited engagement from March 14-23.
One for My Baby Tickets:
https://ci.ovationtix.com/371/production/1210611
Where:
El Portal Theatre
11052 Magnolia Blvd., NoHo Arts District, CA 91601
When:
March 14 – 23
Friday, March 14, 2025 @ 8 pm
Saturday, March 15, 2025 @ 3 pm
Saturday, March 15, 2025 @ 8 pm
Sunday, March 16, 2025 @ 3 pm
Thursday, March 20, 2025 @ 8 pm
Friday, March 21, 2025 @ 8 pm
Saturday, March 22, 2025 @ 3 pm
Saturday, March 22, 2025 @ 8 pm
Sunday, March 23, 2025 @ 3 pm
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To see One for My Baby and what shows are playing, check out our theatre guide>>