BroadwayRadio Episode Summary: "This Week on Broadway for July 20, 2025: Doug Besterman"

Introduction

In this episode of BroadwayRadio's "This Week on Broadway," host James Marino sits down with the illustrious Doug Besterman, a three-time Tony Award-winning orchestrator, arranger, and composer. The conversation delves deep into Doug's extensive career in musical theater, his creative processes, personal anecdotes, and his latest venture, the Arrival Arts Initiative.

Early Life and Musical Beginnings

Doug Besterman opens up about his origins and the early influences that paved his way into the world of musical theater.

• Hometown and Education:

  • [03:22] "I was born in Queens, but when I was three, my parents moved upstate. I grew up in Rockland County in a little town called Muncie, New York."

• Musical Training:

  • [04:58] "My first instrument was piano. I was around 5 years old. We had a grand piano in our house that had been in my grandmother's apartment."
  • Discusses his rigorous piano lessons with teachers Lyudmila Berkvik and John Lampkin, emphasizing their role in nurturing his arranging skills.

• Influential Relationships:

  • Mentions childhood connections with notable figures like Jason Robert Brown and Ann Nathan, highlighting the early exposure to Broadway talent.

Career Highlights

Doug provides an expansive overview of his Broadway journey, sharing insights from both his struggles and triumphs.

• Early Broadway Projects:

  • Damn Yankees:

    • [10:58] "Damn Yankees was my first Broadway project. It was an incredible experience, especially working alongside James Raitt, who was a significant mentor for me."
    • Describes the process of orchestrating the show at the Old Globe Theater in San Diego before its Broadway run.

  • Big:

    • [38:05] "Big was my first original Broadway show. Working with David Shire was an overwhelming yet joyful experience, despite the challenges faced during its Detroit run."

• Notable Productions:

  • Thoroughly Modern Millie, Young Frankenstein, Sister Act, Elf, Bullets Over Broadway, Death Becomes Her:

    • Doug discusses the diversity of these shows, the unique orchestration challenges each presented, and the critical acclaim received, including multiple Tony nominations.

  • Boop and Smash:

    • [14:36] "This season, I've orchestrated three new musicals—Boop, Smash, and Death Becomes Her—all original works. It’s a milestone for me, orchestrating multiple new shows in a single season."

• Challenges and Learning Experiences:

  • On a Clear Day:

    • [25:09] Reflects on the musical’s complex production, praising the musical arrangements despite the show's overall struggles on Broadway.

  • Rocky:

    • [48:48] Shares his passion for the score and the technical challenges faced while adapting the film's music for the stage.
    • [53:13] "Rocky is one of the most technically complicated productions I've been involved with. The visual and auditory elements were genius, though it didn't quite connect with the public as we hoped."

Creative Process and Insights

Doug delves into the intricacies of orchestrating and arranging, distinguishing between the two roles and sharing his methodology.

• Arranging vs. Orchestrating:

  • [07:02] "Arrangers modify chords, write transitions, and add counter lines, while orchestrators translate piano parts into orchestral arrangements without alterations."

  • [08:43] "In practice, especially on Broadway, orchestrators often contribute to the arrangement, blurring the technical distinctions between the two roles."

• Orchestration Techniques:

  • Discusses how he adapts scores to fit different venues and budgets, citing examples from Boop and Smash where existing orchestrations were modified for smaller theaters or different orchestral setups.

• Dealing with Pressure:

  • [42:20] "You get used to the pressure and deadlines over time. It's about calibrating expectations and turning orchestrating into muscle memory."

Personal Life

Doug offers a glimpse into his life outside Broadway, highlighting his family and personal interests.

• Family:

  • [27:16] "I have three children. Max is 31, Carly is 28, and Lucas is 18. They're all pursuing their passions, from family therapy to music and physics."

• Legacy and Future Projects:

  • [58:32] Discusses his Arrival Arts Initiative, aimed at supporting the development of musical scores and fostering collaboration among emerging composers and arrangers.
  • Mentions his certification as a sommelier, blending his love for wine with his professional network.

The Arrival Arts Initiative

A significant portion of the conversation revolves around Doug's latest endeavor:

• Purpose and Vision:

  • [55:41] "Arrival Arts aims to provide a space for developing musical scores, supporting music teams with funding, mentorship, and collaborative opportunities."

• Components:

  • Organization:

    • Provides support services like orchestrating, supervising, and mentoring for musicals ready to be "clothed" but needing further development.

  • Studio Origin:

    • A physical workspace in SoHo designed for composers and arrangers to work in a retreat-like setting, with plans for expansion into a residential facility.

• Goals:

  • [58:26] "I'm at a stage in my career where I'm thinking about legacy—what can I do to support the next generation and solve existing problems in musical development."

Reflections on Broadway Productions

Doug shares candid reflections on various Broadway shows he's been part of, offering both praise and constructive criticism.

• Sister Act:

  • [46:56] "Sister Act had several iterations, each bringing something new to the table. The score is one of Alan's best, though it was underappreciated on Broadway."

• Tarzan:

  • Discusses the adaptation challenges from film to stage, particularly in maintaining the authenticity of the original score with limited stage resources.

• Seussical and On a Clear Day:

  • Reflects on shows that, despite initial struggles, found success post-Broadway or held a special place in his heart for their musical arrangements.

Quotes and Notable Moments

Throughout the conversation, Doug Besterman shares memorable quotes that encapsulate his experiences and philosophies:

• [08:52] "Orchestrators on Broadway do very much contribute to the arrangement."

• [25:09] "The music was very transporting."

• [36:21] "Having three original shows in a single season is a milestone I'm proud of."

• [42:20] "You get used to the pressure and deadlines over time."

Conclusion

James Marino wraps up the interview by highlighting Doug Besterman's contributions to Broadway and expressing excitement for his future projects. The episode not only celebrates Doug's achievements but also provides invaluable insights into the world of musical orchestrations and arrangements. Listeners gain a deeper appreciation for the behind-the-scenes artistry that shapes some of Broadway's most beloved productions.

Additional Highlights

• Personal Anecdotes:

  • Doug shares amusing stories about managing Broadway ticket requests and his interactions with family regarding his work.

• Integration of Technology:

  • Discusses the use of technology in modern orchestrations, especially in shows like Tarzan, adapting film scores for stage performances.

• Upcoming Events:

  • Mentions the upcoming concert version of Little Dancer in London, emphasizing the ongoing nature of his involvement in evolving productions.

Notable Quotes with Timestamps

• [03:30] Doug Besterman: "I definitely had the bug from an early age."

• [07:02] Doug Besterman: "Arrangers modify chords, write transitions, and add counter lines, while orchestrators translate piano parts into orchestral arrangements without alterations."

• [14:36] Doug Besterman: "This season, I've orchestrated three new musicals—Boop, Smash, and Death Becomes Her—all original works."

• [25:09] Doug Besterman: "There are some basic questions that an orchestrator needs to ask. When does this show take place? Is it period specific, musically?"

• [42:20] Doug Besterman: "You get used to the pressure and deadlines over time."

This episode offers a comprehensive look into the life and work of Doug Besterman, making it a must-listen for enthusiasts and professionals in the Broadway community.