In the vibrant spring of 2004, an extraordinary opportunity arose when my musical, Paradise Lost: Shadows and Wings, was showcased at the ASCAP Musical Theater Workshop. This esteemed workshop, the brainchild of the legendary composer Stephen Schwartz (Wicked, Godspell), proved to be an invaluable experience. Stephen’s profound insights into the creative process were incredibly enlightening, and he became a supportive mentor to the show and, to my great honor, to me personally.
Shortly after this enriching workshop, an unexpected call came from a major film studio. Stephen, in his incredible generosity, had recommended me for a project. They inquired if I would be interested in composing music for an animated feature. Overjoyed at the prospect, I eagerly accepted a meeting to discuss this exciting possibility.
The creative executives I met with shared the studio’s long-held ambition to create an epic animated film, a classic in the vein of Disney, based on Rudyard Kipling’s timeless tale, The White Seal. As a lifelong animation enthusiast, deeply admiring the early Disney masterpieces, the playful energy of Looney Tunes, and the innovative storytelling of Pixar, I was thrilled at the potential of contributing to this esteemed tradition with such rich source material.
The White Seal is a captivating story, quintessential Kipling, imbued with both darkness and depth, treating its young audience with respect and intelligence. Intriguingly, Kipling’s narrative opens with a mother seal tenderly serenading her pup. This poignant beginning is marked by the poem, The Seal Lullaby.
These opening verses resonated deeply within me, and a melody, simple and sweet, reminiscent of classic Disney songs, seemed to flow effortlessly. I quickly jotted it down, and with my wife’s vocal performance and my piano accompaniment, we recorded a demo and submitted it to the film studio.
Weeks turned into months, and silence echoed back. Doubt began to creep in. Had they disliked it? Was the melody too intricate? Had they even listened at all? Finally, fueled by anxious anticipation, I contacted them, desperate for any feedback on my tender Lullaby Song. “Oh,” the executive responded, “we decided to move forward with Kung Fu Panda instead.”
And so, my lullaby song, initially intended for the grand stage of a feature film, remained unproduced. I simply sang it to my infant son each night, hoping to lull him to sleep. (Success rate: charmingly inconsistent, hovering below 50%.) Years later, the Towne Singers choir, in their artistic generosity, commissioned an arrangement of this piece, granting it a beautiful new life. I am profoundly grateful to them for this unexpected resurgence. And my deepest gratitude extends to Stephen Schwartz, to whom this piece is dedicated. His mentorship and friendship have been an immeasurable gift, words cannot fully express my appreciation.
