The New York Times: They met at 18, the worst dancers in a college ballet class, and sought refuge in a basement practice room, taking a first stab at songwriting with a tune about adolescents playing hooky and footsie at a suburban diner.
They went viral before going viral was a thing — their undergraduate years coincided with the birth of Facebook, and the first song cycle Benj Pasek and Justin Paul wrote, called “Edges,” was discovered, shared and performed by musical theater majors around the country.
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Oh my goodness- I could write an essay on my love for Pasek and Paul. I really enjoyed this New York Times article. We are often to consumed with the incombants of Broadway, Andrew Lloyd Webber, Alan Menkin, Stephen Schwartz etc. and rightfully so. They are brilliant artists who have create the Broadway we know and love. I'm so excited though, now people are taking notice of up and coming artist, Lin-Manuel Miranda, Sara Barelles, and Pasek and Paul. I think we can live in a world where both styles of music and ideas can be appreciated and cohabitate. I thought this article was a very sweet reflection of their history together- starting at U of Michigan and becoming some of the youngest composers on Broadway. I think this article inspires more than anything. It is so wonderful to here the interview with Justin Paul saying, "I've always wanted to get up each morning and tell stories with my work". I think that is how most aspiring artists feel, regardless of medium. Their tenacity and passion have taken them so far. I hope more magazines continue to promote starting artists with high potentially. PS everyone should listen to Dogfight (one of their first shows post college)- it's brilliant.
I often speak with my friends here about how cool it's going to be when we get to work together in the real world and even on production assignments here. The article lays out the story of Pasek and Paul from the two of them meeting all the way up to them working on one of the most well-regarded films of the year. A lot of the story of Edges seems to be fly by wire, since they hadn't even written down the music, but it was clear that the talent the two of them were able to share together and the way they synthesized their creative energies meant that they were more successful together than they ever would be alone. Also, having seen Dogfight, I think it's interesting that it wasn't well-regarded enough to make ti to Broadway, since the music and lyrics were all top-notch and when the show was over there was nary a dry eye in the theatre, which, at least in drama school, is the prime measure of success. The two men clearly have a knack for affecting their audience that they have honed together since their youths, so it is no surprise that they continue to put out work that is so well received.
This article made me instantly think about my own best friend who's experiencing their own taste of showbiz themselves. While we're at different schools, this article outlines our goals. It's a little different because we're not songwriters, we're DPs (going into scenic) but the end goal is ultimately the same: get back to NYC and work alongside Broadway. This connection between Pasek & Paul is definitely unique and it's a little crazy how much time they spend together. Their relationship's strength can be seen with how well they work with each other. The two have great conversations when talking about the work for the productions they're involved with. In addition, when all hell breaks loose or artist's block hits, the pair are there for each other. Personally, the characteristics in their relationship closely resembles and reminds me of me and my best friend's. We've already been through our own share of hard ships just like Pasek & Paul and it's inevitable that there'll be plenty more
This article was really motivational and optimistic- I can't help but imagine working with the stage manager sitting a few desks away from me or calling a fellow designer for their opinion on some project. We can't all make it to Broadway, but the community is what makes theatre worth it, whether the theater is glamorous or not. Pasek and Paul have obviously grown commercially and artistically successful because they work together, have no major egos, claim equal recognition, and rely on the community around them. They reminded me of the wife/husband duo Kristen Anderson and Robert Lopez who wrote "Let It Go" from Frozen and more together. As Marisa mentioned, they are part of a new generation of composers and lyricists changing the face of Broadway and bringing musicals back to Hollywood. Perhaps friendly and familial collaboration is the trick to making a musical mark.
What a cute article about lasting bromance. Pasek and Paul have such a unique sound to their music but a comforting familiarity as well. They have a very Next to Normal sound that broadway is actively trying to integrate in the scene (Dear evan hansen, if/then, Amelie etc.) I think what made them catch on (taken from the context of the article) is their friendship and chemistry that melts into their music.This is a one in a million pairing like rodgers and hammerstein or ebb and kander. Also, I am so excited for the PT Barnum biopic. Barnum was such an influential member in the development of popular culture, live entertainment, and spectacle it will be interesting to see how Pasek and Paul interpret this into melody and lyrics. They are also integral figures in bringing the movie musical back which has been sort of a hit or miss thing lately but the hope of another great one is reassuring.
Sometimes, when we're tired and burnt out and struggling to find reasons to push through the work which our respective colleges hand us, my best friend and I will text each other about the good old days of high school theatre. The common theme is always that we can't wait till we get to design shows together again.
This article is a heart-felt reminder to me that we all start as kids who like to make things together. Right now, as she attends UNCSA for scenic design and I do, well... this, my best friend and I only have time to see each other two to three days out of the year. But when we do it's like nothing ever changed, we are still fighting our mid-production colds, driving around in her car picking up chicken soup from our favorite Greek restaurant and stopping by Starbucks on the way to our 6:30 call. We're singing country music in spite of our sore throats and hoping the gods are on our side during tonight's show. And we're all alive and buzzy with ideas that frustrate us as much as they excite us.
Even now, I live with the same people I create with. We fight over big ideas and rant about group dynamics and wonder if any of it will ever work at all. And we know that even though this is hard, we're doing this so that one day we will be able to keep working together on bigger stages and with brighter minds. It's easy to forget that everyone - whether they're writing musicals for Broadway or fighting over gel colors in their basement - is just trying to do the best they can. And we won't always do the best we can. But if we keep trying, one day people will write articles about how it all began in a house on Shaw Avenue. And nerds like us will write excessively sentimental articles about it on a Saturday night. Maybe they'll feel a little more hopeful, too, if luck prevails.
I had heard and been interested in a number of Pasek and Paul's of projects, and it was not until I read this article that I realized they were connected to the same songwriting team. To have such a diverse resume encompassing both Broadway and film as songwriters is incredible. These two appear to be quietly pervasive, and I cannot wait to see what they have produced.
I somewhat hate articles like this one, because between being 18 and being bad at college ballet and being 31 and achieving professional success is a full, hulking decade. Which is huge. While perhaps not much happened in those years, I still would have like greater attention paid to the fact that they did have a wait, full of hard work and uncertainty. It sounds as though they will not be disappearing from Broadway or the screen anytime soon, and I think their roots and work ethic should be given higher regard.
Okay well first things first, I am going to say that I am obsessed with their work. Absolutely obsessed. When I listened to the soundtrack of dog fight for the first time I wept. Like a baby. The songs were so incredibly perfect I felt like they understood the plight of my 16 year old self better than I did. And so when this article said that I felt justified but also happy that I was not the only one. I think these two are the future of musical theater. They have already done fantastic work in the past 10 years and haven managed to do so in an interesting and unique way. They understand young people in the 21 century the way that no one else does, or at least no one else who is writing. It also makes me happy to know that they are friends and have been for a long time. My best friend of nearly 10 years who is a musical theater major at University of Michigan and I have been talking about writing a TV show together since we were children. There is something special about doing something you love with people that you love. These two completely embody that and I look forward to entering a business that they continue to grow in.
This is so cute! Sorry for being immature, but aww! It's like a movie! Stephen Schwartz is one of their mentors and they met in a ballet class! This makes me believe so much in soulmates - not romantic soulmates, but everyone has a person that just connects with them in the perfect way to bring out what's best in the other! Friend soulmates!
Anyways, I think it's crazy how much hey have accomplished. I didn't realize the scope of their work until it was all listed out in front of me. I think they are brilliant, and while they are not following the hip-hop trend many others are bringing to Bway, I think it's alright. A poppy, classical mix is interesting to bring to the stage as well. And it makes me happy to read an article about making art with your best friend - this article will definitely color my view of their work from now on.
This article was so nice to read. As the only person out of all my friends from high school who is majoring in theater, this article wouldn't have been relatable at all if I read this last year. There is a very different and bond that exists between my friends back home and my friends here - despite the fact that I've only known my friends here for a little over a year (versus 10+ years with friends at home), the mutual understanding and shared passion towards such a specific profession like theater design does form a unique bond. One thing that I wonder if Pasek and Paul experience is turning competitive (not necessarily in a good way), as that's something that's hard to avoid between friends regardless of what profession you're both in. Interestingly I haven't explicitly experienced that here yet, but I did go through a lot of that in high school (although my friends and I weren't even going into the same major). Maybe it's the tight knit nature of theater communities, maybe it's the people. Whatever it is I'm very thankful for.
I loved reading this article and love their story. How sweet to read about a friendship turned collaborator turned star composer and lyricist duo. My favorite part of the article and their story is that despite their lifestyle differences they exist as best friends. It's always nice to see and read about people who just see each other as people. Its even nicer to read and see when they are star broadway producers.
Its crazy to think that this duo met at their freshman orientation... It makes someone in my position wonder if I have already met my future collaborator. Paseck and Paul's story is so sweet mainly because it starts off as two theater dorks who just share a love for theater. (Not to mention, they both attended one of the top conservatory programs in the country.) I feel that in school people sometimes try to hide their inner theater kid. But I don't think its necessary. I think it is so crucial to find someone or many people that you can be your complete honest self with, and I think it is that part of this duo's relationship which makes their collaborating so fantastic. They both have a love and understanding of the art form that allows them to create fluidly and successfully. I love their music and am happy to read about two young guys making it in the business. Looking forward to seeing Dear Evan Hansen soon.
This article is so heartwarming. One of the more difficult aspects of theatre is how you form incredibly close bonds with the people you work with only to leave, each moving on to the next show. It would be nice to have a partner-in-crime, that one person whom you always work with and who always has your back. I have one friend here at CMU that I joke we will be working together for the next fifty years. But, joking aside, it might be nice to have someone on every job who understands you on that level. A professional soulmate as it were. The next two and a half years will be incredibly exciting but probably equally frustrating as we try to make beautiful art with people we consider our closest friends. As another commenter pointed out it is surprising that they haven’t experienced a rise in unhealthy competition in their relationship as they have worked together and their success has built up. Treading a line between personal and professional relationships can be tricky, but when it truly works, like with Pasek and Paul, you might just end up with magic.
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