A Convergence of Musical Journeys: Mentorship, Creation, and Competition
The Genesis of a Mentorship and an Unforeseen Rivalry
At the start of 2025, a significant connection formed within the ASCAP Foundation Musical Theatre Workshop. Veteran composer Stephen Schwartz, celebrated for his work on "Wicked," took on the role of mentor to emerging talent Mark Sonnenblick. Little did they know, as 2026 approached, both would find themselves on the Academy Awards shortlist for Best Original Song, potentially vying for the same prestigious accolade.
Schwartz's Return to Oz and Award Recognition
Stephen Schwartz, who playfully suggests he never truly departed the magical world of Oz due to ongoing productions, contributed two fresh compositions to "Wicked: For Good." These pieces, "No Place Like Home" performed by Cynthia Erivo and "The Girl in the Bubble" sung by Ariana Grande, have garnered critical acclaim. Both tracks secured Golden Globe nominations and are now strong contenders for an Oscar.
Sonnenblick's Meteoric Rise and Chart-Topping Success
Mark Sonnenblick, Schwartz's former mentee, experienced a phenomenal year, co-creating "Golden" for Netflix's animated feature, "KPop Demon Hunters." This song transcended its film origins, rocketing to the top of the Billboard Hot 100 and becoming a ubiquitous presence on radio waves. Mirroring his mentor's success, Sonnenblick also received a Golden Globe nomination for "Golden" and earned a spot on the Oscar shortlist.
Navigating Awards Season with Mutual Admiration
Despite the competitive nature of awards season, both Schwartz and Sonnenblick express genuine enthusiasm for each other's achievements. Their interactions, even amidst competing campaigns, are marked by mutual respect and a shared love for their craft. A recent online conversation saw Sonnenblick eagerly questioning Schwartz about his songwriting insights and the new "Wicked" compositions, underscoring their enduring professional bond.
Reflecting on the Mentorship Experience
During their discussion, Sonnenblick articulated his profound appreciation for the ASCAP workshop, emphasizing the unique community and support system it offers to aspiring musical theater creators. He highlighted the distinct passion required for this art form and the invaluable opportunity to learn from masters like Schwartz, whose work has deeply influenced him since childhood.
The Creative Process Behind "Weekend" Adaptation
Sonnenblick elaborated on his workshop project, an adaptation of the film "Weekend." He explained their unconventional approach to incorporating pop music, where songs served as a parallel narrative rather than direct character expressions. This experimental use of music, which provided a subtle emotional layer, was a focal point of their work and intrigued Schwartz.
Schwartz's Philosophy on Mentorship and Artistic Growth
Schwartz shared his motivations for guiding emerging artists. He articulated a desire to see the continued evolution of quality musical theater, acknowledging the inherent difficulties and common pitfalls in the creative process. Beyond fostering new talent, Schwartz also cited the personal enjoyment and educational value he derives from engaging with other creative minds, emphasizing the reciprocal nature of such interactions.
A Landmark Year for Movie Musicals
Both composers acknowledged the remarkable success of movie musicals in the current year. Sonnenblick noted the extraordinary prevalence of musical films, including their own, reaching wide audiences. Schwartz concurred, remarking on the vibrancy of the current musical landscape compared to more fallow periods, highlighting the positive impact on broader cultural reach.
The Evolving Relationship Between Pop and Musical Theater
The conversation delved into the historical ebb and flow of musical theater songs in mainstream pop culture. Schwartz recalled a time when musical compositions frequently became pop hits, followed by a divergence, then a resurgence with Disney animated films. He expressed optimism about the current trend of musical storytelling re-entering mainstream pop, finding it very encouraging for artists who blend narrative with song.
Schwartz's Pioneering Integration of Pop Music
Sonnenblick inquired about Schwartz's early career, noting his groundbreaking integration of pop music into musical theater at a time when such a fusion was uncommon. Schwartz revealed that his approach was instinctive, writing music that resonated with his personal tastes to enrich character and narrative. He acknowledged the initial resistance from traditional theater circles but observed how this style eventually became the norm in contemporary Broadway scores.
Collaborative Songwriting for "KPop Demon Hunters"
Sonnenblick detailed the collaborative environment of songwriting for "KPop Demon Hunters." He emphasized that songwriting is inherently a collaborative art, requiring seamless integration with scriptwriters, directors, and choreographers. He highlighted the importance of context, noting that even the best song can fail if it doesn't serve the larger narrative, illustrating how each collaboration offers new learning experiences.
Working with EJAE on "Golden"
Sonnenblick spoke enthusiastically about his collaboration with artist EJAE on "Golden." He described her as a singular talent and shared insights into their meticulous process, which involved EJAE creating numerous melodies over instrumental tracks provided by The Black Label. He described her technique as "Frankensteining"—piecing together dynamic sections, characteristic of K-pop, and refining lyrics to perfectly complement the melody and narrative.
Continuing the "Wicked" Legacy
Schwartz addressed whether returning to "Wicked" for "Wicked: For Good" felt like a new endeavor. He clarified that it felt more like a continuation, given the musical's ongoing presence and various productions. He explained that new songs and revisions were necessary solely to advance the film's narrative, particularly for the second movie, ensuring the story was told effectively and seamlessly.
Character-Driven Composition in "Wicked"
Responding to Sonnenblick's question about composing for Glinda's new songs, Schwartz explained his focus on the character's internal journey rather than just the overall score. He elaborated on Glinda's dual vocal personas—a genuine pop voice and a public soprano. For "The Girl in the Bubble," a turning point for Glinda, he aimed for a simple, almost folk-like melody, integrating both voices to reflect her stripping away artifice. He emphasized the instinctive nature of these compositional decisions, striving to embody the character's emotions through musi