ON THE NEW MUSICAL ‘FOUND’

INTERVIEW: HUNTER BELL, LEE OVERTREE, AND ELI BOLIN

BY RYAN M. LUÉVANO

IAMA Theatre Company presents the West Coast premiere of Found, a new musical inspired by Davy Rothbart’s popular Found magazine, which features scores of actual discarded notes and letters that have been “found” in the real world by everyday people. Found boasts a book by Tony nominated Hunter Bell (Broadway’s [Title of Show]) and Lee Overtree, and music and original lyrics by Emmy-nominated composer Eli Bolin (Original Cast Album: Co-op).

Tony-nominated director Moritz von Stuelpnagel (Broadway’s Hand to God, Present Laughter, Bernhardt/Hamlet; off-Broadway’s Teenage Dick) directs, alongside orchestrators/musical directors Frank Galgano and Matt Castle and Emmy award-winning choreographer Kathryn Burns (Crazy Ex-Girlfriend) for a Feb. 20 opening at The Los Angeles Theatre Center. Performances will continue through March 23. In this Tin Pan L.A. exclusive the writers discuss the creation their new musical and what audiences can expect in this West Coast premiere.

How would you describe Found in a nutshell?

HUNTER BELL: I would describe Found as a kick-ass new musical, full of heart, humor and real notes and letters that constantly surprise me.

LEE OVERTREE: Found is a musical about the things we write down. From shopping lists to heartfelt letters, when we take the time in this digital age to put pen to paper, it matters. 

ELI BOLIN: The musical bio-fiction-ography of Found Magazine, a collection of lost notes and letters written by real people. Everyone in the world just wants someone to listen – when we write things down, we’re looking for a way to connect. That’s something the notes help our characters learn, and they’ve certainly helped us, too. 

How did the idea for Found come about?

LO: Found is inspired by Found magazine and the people who made it. It was also inspired by our experiences making creative work with close friends- how rewarding and challenging it can be to make something you love with people you love. 

When did you start writing this musical? How long did it take you to write the show?

EB: Over 10 years ago! It’s made the journey from musical sketch comedy to book musical (thanks to Hunter), from NYC to Philly and now to LA!

What was the strategy for crafting a narrative from various stories?

HB: It all goes back to the notes. They are the heartbeat of the show and what makes this musical so special and singular. Writer cartoonist Lynda Barry has a great word: “autobiofictionography.”  I think that’s a great description for Found. We wove in the real notes and letters from the magazine into an “autobiofictionographical” story inspired by the creation of the zine. 

LO: Early on, we hit on the idea of using the real finds as theatricalized subtext for what our characters are saying (or not saying, as it were). This device became a catalyst for a story about friends who are having trouble communicating with those they care about the most. 

Was there a collaboration with Davy Rothbart/FOUND Magazine?

LO: Davy has been there every step of the way to inspire us, answer questions and tell us stories about the early days of Found Magazine. He and Sarah Locke point us toward rare finds and help us navigate the world of Found. 

EB: Davy and his Found partner Sarah Locke have been invaluable from the beginning. Davy has shared every bit of himself with us, from personal stories to his time and thought, to his vast archive of finds. Sarah, as the primary keeper of that archive, has been there for us anytime we’ve needed a find to fit any moment you can imagine. 

How do you work together as composers, lyricist and librettist?

LO: In the past year we were lucky enough to work with Glenn Slater, a friend and fan of the show since the early workshops. Glenn helped us sharpen the narrative, strengthen the relationships of our main trio and focus the themes of the show.

EB: Endless give and take, or as Hunter says, our chocolate gets in each other’s peanut butter. Story dictates everything, so a moment that cries out for music spurs a search for a find to musicalize or a discussion about a character-based song. With a show as unique and complex as Found, we always try to keep a sense of fun, because changing one piece can sometimes have a domino effect. Being patient and silly is helpful. 

What influenced the music for this show?

EB: I’m an omnivorous student of pop, soul, funk, jazz, blues and musical theater, and because Found’s structure and very nature demands musical and emotional diversity from its score, the music is and always has been extremely fun and satisfying to write. Everything from Stevie Wonder to Tom Waits to Ben Folds to Weezer is all over this show…and that’s just four songs! Getting to write in so many genres and styles for one score is a real blessing. 

How did the 2014 off-Broadway world premiere help you shape this show?

HB: Anytime you can get a new show on its feet in front of an audience is a great thing. It’s how you learn what works and what doesn’t. The Atlantic run was incredible and that theatre and its team and staff will forever hold a special place in the history and creation of Found.

LO: The Atlantic Theater Company was instrumental in making this show what it is today. Neil Pepe, Jeffory Lawson and the whole team at ATC  believed in this unique show and let us run free. 

EB: Neil Pepe and the whole gang at ATC were incredibly supportive, first with an extended workshop and then the production itself. We never wanted for resources, time, or thoughtful dramaturgy. It was a lucky home for Found. 

What is your favorite moment in the show?

HB: This question is too Sophie’s Choice for me. So many favorites. All my babies.

LO: Probably the find “You have to make up your mind, Mr. Dickens. Twas either the best of times or the worst of times, it could scarcely be both.”

EB: The song “Barf Bag Breakup”. The found text was a gift, the most beautiful lyric I’ll never write. It was so easy to write music for these words, it poured out in one sitting. I just feel lucky I was near a piano so I could catch it all.

What excites you most about this show?

HB: What excites me most about this show is its originality and the perfect blend of heart and humor.

EB: I got to make something that I love with people that I love. I think it is all the things I enjoying doing best in one place under one hat, from the silly to the profane to the deeply sad, all the multitudes I think everyone contains, but in raw, undiluted form. I am grateful that Found Magazine exists to share such things with the world and that I have been blessed to add some music to that universe.

What can audiences expect from your show?

HB: I think audiences can expect to laugh, feel, and have a great effing time at the theater! Who could ask for anything more?!

LO: Audiences can expect to laugh at the weird, wild and surprisingly moving world of lost scraps of paper that no one ever expected to be found. 

TICKETS AND MORE INFORMATION

WHEN: 
Previews: Feb. 14, Feb. 16, Feb. 17 
Performances: Feb. 20 – March 23
• Thursdays at 8 p.m.: Feb. 20 (opening night) ONLY 
• Fridays at 8 p.m.: Feb. 14 (preview), Feb. 21, Feb. 28, March 6, March 13, March 20
• Saturdays at 8 p.m.: Feb. 22, Feb. 29, March 7, March 14, March 21
• Sundays at 4 p.m.: Feb. 16 (preview), Feb. 23, March 1, March 8, March 15, March 22
• Mondays at 8 p.m.: Feb. 17 (preview), Feb. 24, March 2, March 9, March 16, March 23 

WHERE:
The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

HOW:
• 323-380-8843 or www.iamatheatre.com.
• Visit IAMA Theatre Company on facebook: facebook.com/iamatheatre/
• Follow IAMA on twitter and instagram: @iamatheatre

TICKET PRICE:
All performances: $35
Previews: $20