Cory Stillman
Bill Sherman is already a stalwart of Broadway music, having served as an orchestrator for the Tony-winning production of In The Heights, as well as producer for both that show’s cast recording and that of Lin Manuel-Miranda’s other hit show, Hamilton. Sherman won the Grammy for Best Musical Theater Album for both cast recordings, and he is now contending for his third win in the category via his nomination for the jukebox musical Just in Time, based on the life of singer Bobby Darin.
Just in Time stars stage icon Jonathan Groff, who Sherman describes as “a once-in-a-generation talent who is able to entertain and wow audiences every single night with his incredible singing, storytelling, and all-out charm.”
The quality of the album’s performances were therefore never in doubt. Still, Sherman has a knack for manufacturing all kinds of surprises during the recording process, jokingly encouraging his musicians to “try to get fired.”
“The purpose of this is to catch those magic, lightning strike moments that you might not catch if you’re just reading music and pressing record,” says Sherman.
That creative approach extended from Sherman’s broader mission to make the Just in Time album a unique listening experience from the show itself. Director Alex Timbers and Music Supervisor/Orchestrator Andrew Resnick fully supported the idea, and they all took some creative liberties in rearranging certain tunes to create a cohesive listening experience and ensure the album is “something that you would want to start at the beginning and never skip a track.”
Indeed, with innovative renditions of such classics as “Splish Splash” and “The Good Life” headlining this iconic collection of music, it seems Sherman more than accomplished his mission with the Just in Time cast recording.
Check out our full conversation with producer Bill Sherman below!
How does this nomination compare to your previous experiences with awards and industry recognition?
My role on the Just in Time cast recording was solely to be a record producer. More often than not, I am involved in the creation of the show itself. This gave me the freedom to really dive deep into the overall sound of the album in an attempt to capture what Jonathan Groff and the cast of Just in Time put into the show every day. It is always an honor to be recognized in any pursuit, but this particular album really feels like something special that takes musical theater cast recordings into a different stratosphere.
As producer, composer, and orchestrator, you occupy multiple creative roles on Just in Time. How did you integrate those perspectives into a cohesive musical vision?
While I do often wear many hats, the excitement of Just in Time was to collaborate with the show’s creators, Director Alex Timbers and Music Supervisor/Orchestrator, Andrew Resnick. It was really their creative framework that was the focus of the album. I often think that Broadway cast recordings are more of a capture of the show. For the Just in Time album, our goal was to create a unique listening experience that expanded upon the groundwork they had created and really made the record into a thing of its own.
What was the guiding principle or emotional throughline that shaped your approach to crafting the sound of this album?
I have a saying when making records, which is “10% percent past taste.” Or I tell the musicians to “try to get fired.” I will also tell vocalists to “smile while they’re singing.” The purpose of this is to catch those magic, lightning strike moments that you might not catch if you’re just reading music and pressing record. When you’re making a record, you’re not only recording notes, but emotions and excitement as well. These are some of the methods I use in my attempt to put albums over the top.
Were there any unique challenges in translating the show’s stage experience into a compelling album format?
Just in Time, at its core, is the story of the highs and lows of the life of Bobby Darin. As with most Broadway musicals, dialogue breaks are used mid-song to further the story and really push the narrative forward. For the cast recording, we set out to make a cohesive listening experience. Something that you would want to start at the beginning and never skip a track. Arranger and Orchestrator, Andrew Resnick, took some arrangement liberties and rewrote some orchestrations, so that at the end of the day, the record just feels like a really great fit for anyone’s listening experience.
Great cast albums are built on great collaborations. Who were the key creative partners on Just in Time, and how did those relationships shape the final product?
The Just in Time Original Cast Recording was truly a communal effort between the incredible band, the cast, the show’s producers and director, everyone at Atlantic Records for championing the project, as well as Music Supervisor Andrew Resnick and Producer/Mixer/Engineer Derik Lee. All of these people held specific roles in shaping the overall sound of the recording. From song selection, editing, and reorchestrating, to finding a cohesive sonic sound. And of course, to Jonathan Groff, who is a once-in-a-generation talent who is able to entertain and wow audiences every single night with his incredible singing, storytelling, and all-out charm. This charm and exuberance also lent itself to the recording studio, where Jonathan, a true perfectionist and precise vocalist, delivered a master class in singing and telling stories through singing every single time we pressed record.
How do you think Just in Time contributes to or reflects the current landscape of contemporary musical theater?
By all accounts, Just in Time brings us to a certain time and place with the retelling of the life of Bobby Darin, who was a pop culture icon through the 1950’s and 1960’s. Regardless of that, the musical is universal, with everlasting themes of love and loss. Whether you’re 13 and 15 (as my daughters are and are huge fans of the show and have seen it multiple times and listen to the cast recording on repeat) or 150, you will no doubt leave the theatre with a smile on your face, humming the tunes that you know so well, which being amazed at the overall level of talent and expertise that you just witnessed.
How does recognition at this level influence the way you approach future work in theater, music, and cross-disciplinary projects?
To be honored with a Grammy Nomination is always something that feels like a dream to me. In my career, I have always gone with my gut when it comes to projects and people that excite me. Your television show, musical, or movie might not be the best yet, but if there’s a determination in your eye and a drive to make the best thing possible., that is something I’m interested in being part of.
Are there new creative directions or collaborations you’re excited to explore following this nomination?
I love making things. I love being part of a team that makes them. Or I love making the team itself. I’d love to make new records with my friends, build another musical from the ground up. Develop a new cartoon for kids. I’m in a fortunate place where I get to be a part of a lot of different projects and hope to continue that for as long as people will have me.
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