AceShowbiz - Cinco Paul conceived the idea for a musical parodying Broadway’s Golden Age classics over two decades ago, long before it became the television series Schmigadoon!. His vision was to lovingly satirize iconic musicals such as Oklahoma!, Carousel, and The Sound of Music. However, before bringing this dream to the stage, Paul diverted his creative energy into writing for major animated films, including the Despicable Me franchise, Horton Hears a Who, The Lorax, and The Secret Life of Pets, collaborating with Ken Daurio.

When Broadway shut down due to the COVID-19 pandemic, the long-awaited arrival of Schmigadoon! took an unexpected form. Instead of debuting on stage, it premiered as an Apple TV+ musical comedy series. The show featured two doctors, played by Cecily Strong and Keegan-Michael Key — one a musical aficionado, the other a skeptic — who stumble into a magical town where every moment bursts into song and dance. The cast included a stellar array of Broadway stars such as Aaron Tveit, Kristin Chenoweth, Alan Cumming, and Ariana DeBose.

Reflecting on the TV series, Paul half-joked to Billboard that Apple TV+ served as their "out-of-town tryout" before the show’s true theatrical incarnation. The series produced two seasons, with the second season shifting focus to musicals from the '70s and '80s and relocating the setting to "Schmicago." Despite a fully written third season, the show was canceled in early 2024. Yet, Paul’s original Broadway dream did not fade. Shortly afterward, Schmigadoon! finally arrived on Broadway, where it quickly earned twelve Tony Award nominations, tying with The Lost Boys for the most nods of the year. The nominations include best musical, best book of a musical, and best original score for Paul himself.

Speaking ahead of the Tonys, Paul expressed excitement about the possibility of a cast recording, emphasizing the abundance of new music and the changes made since the TV version. He shared insights on adapting the material for the stage, noting that the initial scripts—written before casting except for Strong—underwent significant revisions. “There was way too much intercutting back and forth,” he said, explaining that the numerous locations and rapid scene changes common in TV storytelling do not translate well to live theater. Instead, Paul consolidated many story beats into fewer, longer scenes to fit the stage’s pacing.

He also highlighted the distinct narrative demands between a two-act stage production and a six-episode TV series designed to build to cliffhangers every 25 minutes. This transition allowed Paul to correct elements he felt were missed opportunities in the television adaptation, such as adding songs where there had been none. “Now we can do it,” he remarked.

Paul acknowledged the challenge of conveying humor differently in theater versus television. While TV benefits from close-ups and subtle facial expressions, stage performances must reach audiences at a distance, requiring changes in timing and delivery. Watching a live audience laugh at the right moments has been one of the most rewarding experiences for him, as he never got to hear those responses during the TV show’s filming.

The Broadway production covers essentially the first season of Schmigadoon!. Paul confirmed this was always the preferred starting point, citing the complexity of the seasons and the suitability of season one as an introduction for new viewers. “Ninety-five percent of the population hasn’t seen Schmigadoon!,” he noted, making it feel like an entirely new musical for most theatergoers.

Regarding casting, the Broadway show features a mostly new ensemble, with the exception of beloved Broadway veteran Ann Harada, who reprises her role. Paul explained that this decision was intentional to test the strength of the material itself rather than adapt the TV cast directly. He emphasized the importance of fresh voices and faces to bring the scripts to life anew while praising Harada’s return as a highlight.

One casting choice that surprised Paul was McKenzie Kurtz’s portrayal of Betsy, which he described as a strikingly different and “insanely” comedic departure from Dove Cameron’s TV performance. Kurtz brings a wildly unhinged and aggressively funny tone that Paul felt was a brilliant reinterpretation worth spotlighting.

The show’s marketing tagline, “Finally, a musical for people who roll their eyes at musicals,” hints at its satirical nature. Paul clarified that it’s aimed at musical theater lovers who have earned the right to poke fun at the genre’s clichés. He drew a parallel to the tone of The Book of Mormon, a satirical yet affectionate musical that inspired some of Schmigadoon!’s approach.

Paul emphasized that from the outset, the goal was to create a comedy that both parodies and celebrates musicals. “This is a comedy about being in a musical that then becomes a musical itself,” he explained. The hope is that audiences will laugh continuously but also connect emotionally through the power of musical theater.

He acknowledged that while The Book of Mormon pushed boundaries in a way that isn’t exactly his style, he admires its sharp intelligence and sees Schmigadoon! as aiming for a similar blend of humor and homage.

When asked about his affinity for pop music and whether he wished certain pop artists would write musicals, Paul noted that some of his favorites, like Randy Newman and Elvis Costello, have tried their hand at musical theater. However, he expressed curiosity about what a musical by Ben Folds or Regina Spektor might look like, hinting at the musical-theater qualities he perceives in their work.

Ultimately, Schmigadoon!’s journey to Broadway is a testament to persistence and adaptation. What began as a concept over 20 years ago, transformed through television and now revitalized for live audiences, stands as a loving tribute to musical theater’s past while playfully critiquing its conventions. With its Tony recognition and fresh Broadway presence, Schmigadoon! is poised to enchant and amuse theater fans and newcomers alike.