The journey of a Broadway musical from conception to Tony Award glory is rarely straightforward, often filled with unexpected twists and turns. A Gentleman’s Guide to Love and Murder is a testament to this unpredictable path, a show born from cinematic inspiration, legal hurdles, and ultimately, a deep dive into comedic darkness. In this insightful look behind the scenes, we explore the creative process of Robert L. Freedman and Steven Lutvak, the writers behind this Tony Award-winning Best Musical, as they recount the fascinating story of bringing A Gentleman’s Guide to Love and Murder to the stage.
From Silver Screen to Stage: The Genesis of a Musical Idea
The seeds of A Gentleman’s Guide to Love and Murder were sown in the late 1970s when Steven Lutvak, captivated by the classic film Kind Hearts and Coronets, had a sudden epiphany. “I literally bolted upright in bed, smacked my forehead and said, ‘Oh my god, it’s a musical’,” Lutvak recalls. The film, a dark comedy centered around a man plotting to inherit a dukedom by eliminating the eight relatives standing in his way, struck Lutvak as possessing an inherently musical structure. He envisioned the two women in the story and the man caught between them as a twisted reflection of the traditional musical framework, akin to a darkly comedic Oklahoma!.
Lutvak’s enthusiasm was infectious, and he soon shared his vision with Robert L. Freedman, his friend from the graduate musical theater writing program at NYU. Together, they embarked on the ambitious journey of adapting Kind Hearts and Coronets into a stage musical. Despite securing developmental support at Sundance, winning prestigious awards like the Kleban and Fred Ebb Awards, and staging successful readings, their path was abruptly blocked. The rights holders of the film, initially supportive, ultimately rescinded their permission, throwing the project’s future into jeopardy.
Returning to the Source: Embracing the Novel “Israel Rank”
Faced with this significant setback, Freedman and Lutvak demonstrated remarkable resilience and creative agility. They turned their attention back to the source material of Kind Hearts and Coronets: the 1907 novel Israel Rank: The Autobiography of a Criminal by Roy Horniman. This pivot proved to be a turning point, a “blessing in disguise,” as Freedman describes it.
“We decided to take out everything from our show which was in the film, but not in the novel,” explains Freedman. This rigorous self-audit, guided by a copyright lawyer, forced them to reimagine elements of their musical, ensuring complete originality and avoiding any potential legal pitfalls. While the film served as the initial spark, the novel became the true foundation of A Gentleman’s Guide to Love and Murder. This constraint, rather than hindering their creativity, actually liberated them. Lutvak notes, “it was enormously freeing to us, actually, because we had not only to sidestep what we couldn’t use, but it freed us up to be wilder in our choices.”
The adaptation from Israel Rank allowed them to reshape the narrative, particularly the identities and demise of the unfortunate D’Ysquith family members. While both the film and the musical feature eight deaths, the novel provided a different landscape of possibilities. Freedman elaborates, “The murders in the novel were either not as dramatic or not funny and one was terribly tragic, in a way that you could never make comic. So, we just had fun making up new identities and new ways for them to die!” This creative freedom in crafting the demise of the D’Ysquiths became a hallmark of the musical’s dark humor.
Navigating Legal Battles: A Test of Perseverance
Just as A Gentleman’s Guide to Love and Murder seemed poised for its premiere at La Jolla Playhouse in 2009, another obstacle emerged: a lawsuit from the film’s rights holders. This legal challenge cast a shadow over the production and plunged the creators into a stressful thirteen-month ordeal. The central point of contention revolved around the theatrical device of having one actor play all the members of the ill-fated D’Ysquith family. The plaintiffs argued this was a unique element derived from the film.
However, Freedman and Lutvak’s legal team successfully argued that the theatrical tradition of one actor playing multiple roles predated the film and was a common practice in stage performance. In a decisive victory for the musical, the judge dismissed the case outright in March 2011. The judge’s ruling underscored the distinct nature of the musical adaptation, stating, “ultimately the movie and the musical are two completely different iterations of the same underlying material. The movie plants its tongue firmly in its cheek and the musical sticks its tongue out.” This legal affirmation cleared the path for A Gentleman’s Guide to Love and Murder to finally reach its audience.
Crafting the Comedy: Balancing Dark Humor and Sympathy
At the heart of A Gentleman’s Guide to Love and Murder lies a delicate balancing act: creating a hilariously dark comedy while ensuring audience sympathy for the protagonist, Monty Navarro, a man systematically eliminating his relatives. Freedman and Lutvak carefully constructed both Monty and his targets to achieve this equilibrium.
“We were very careful about that; we need to make the D’Ysquiths all odious enough that you didn’t mind seeing them killed off,” Lutvak explains. The D’Ysquiths are portrayed as caricatures of aristocratic arrogance and indifference, each embodying a particular brand of loathsomeness that makes their demise, however gruesome, undeniably comedic.
Simultaneously, Monty is crafted as a sympathetic underdog. Freedman points out, “I think there are certain things about his predicament in life that are inherently sympathetic and that anybody can identify with; he’s an underdog and, not only did he grow up poor, but he was denied the kind of life that he should have been born into and should’ve had.” Monty’s motivations are rooted in social injustice and a desire to reclaim his birthright, making his actions, while morally questionable, understandable within the context of the story. Furthermore, his charm and wit, combined with a touch of vulnerability, further endear him to the audience.
The comedic tone is further amplified by the witty lyrics and sophisticated language, which Freedman and Lutvak collaboratively crafted. “Steve and I had a tremendous amount of fun writing it and we just wallowed in the language of it and the attitude of it and the tone,” Freedman recalls. Their collaborative writing process, working together in the same room, contributed to the cohesive and distinctive voice of the musical. Lutvak reflects on the show’s comedic essence: “As time has gone by, I realize that what we are, in a way, is a very low comedy in a very fancy box.” The juxtaposition of high-society Edwardian England with lowbrow humor creates a unique and irresistible comedic blend.
Theatrical Innovation: Staging and Design that Enchant
A Gentleman’s Guide to Love and Murder is not only a comedic triumph but also a masterclass in theatricality. The innovative staging, conceived in collaboration with director Darko Tresnjak and set designer Alexander Dodge, plays a crucial role in the show’s success. The “toy theater” concept, featuring a stage within a stage and the imaginative use of projections, enhances the storytelling and creates a visually captivating experience.
Freedman praises Tresnjak and his design team: “Darko, at the very beginning, just completely understood what we were going for.” The vision was to present the musical as if it were being performed in the Edwardian era itself, yet with a modern sensibility. The use of projections allowed for seamless transitions between locations and added a layer of visual dynamism to the production. The chorus of six actors, playing a multitude of supporting roles, further enhances the theatricality and comedic energy of the show. This meta-theatrical approach, constantly reminding the audience they are watching a performance, adds to the overall charm and wit of A Gentleman’s Guide to Love and Murder.
A Night to Remember: Tony Award Glory
After years of dedication, creative problem-solving, and unwavering belief in their project, Freedman and Lutvak experienced an unforgettable moment: winning the Tony Award for Best Musical in June 2014. For Lutvak, “to win that was nothing less than astonishing. Nothing less than astonishing.” Freedman, who also won the Tony for Best Book, describes the experience as “the most incredible thing and it’s surreal and it’s wonderful.”
However, beyond the accolades and awards, the most profound reward for the creators is the connection A Gentleman’s Guide to Love and Murder has forged with audiences. Freedman poignantly describes the emotional impact of witnessing audience reactions: “There’s nothing in the world like the feeling, and this makes me cry even when I talk about it now – it always moves me, when I’m in the theater, it never fails to, when people react to the show at the end; just the overwhelming excitement of the audience.” This shared experience, the collective joy and enthusiasm emanating from the audience, is the ultimate validation of their artistic journey.
A Gentleman’s Guide to Love and Murder stands as a testament to the power of perseverance, creative collaboration, and the enduring appeal of dark comedy. From its cinematic inspiration to its Tony Award triumph, the musical’s journey is as captivating and entertaining as the show itself, proving that sometimes, the most challenging paths lead to the greatest rewards.
