INTERVIEW: Glory Crampton’s ‘Project 9’ serves as tribute to ‘Nine: The Musical’
Photo: Glory Crampton is the producer and director of Project 9, a music video tribute to Nine: The Musical. Photo courtesy of the artist / Provided by Fortune Creative with permission.
Glory Crampton, a successful musical theater soprano, has recently been finding success with a music video entitled Project 9, which serves as a tribute to the beloved Nine: The Musical. Crampton is billed as the producer and director of the 15-minute music video, which also stars Robert Cuccioli and Dana Moore, among many other musical theater stars and a full orchestra.
Of course, Nine is the result of a winning collaboration between book writer Arthur Kopit and composer and lyricist Maury Yeston. Crampton knows these two well because she originated the role of Christine in Kopit and Yeston’s musical Phantom. She is a successful Broadway performer who has also built an impressive solo career. Her voice has been heard on many stages, including the Radio City Music Hall and even Irving Berlin’s New York home.
Recently Hollywood Soapbox exchanged emails with Crampton about Project 9, which won a Gold Telly for Best Music Video at the 42nd annual Telly Awards, in addition to two Bronze Telly accolades. Questions and answers have been slightly edited for style.
How did Project 9 begin? What was the inspiration behind the music video project?
During Covid, it was evident that we were possibly in for a long shutdown of Broadway. I wanted to find a way to keep actors moving forward, keep us creative during a crisis, a way for us all to stay connected. I decided to experiment with a new medium of combining live performance with a cinematic feel, to share Broadway in whatever way we could. Also, especially through the women in Project 9, I wanted to give people the example that we can, and will choose to stay in our joy, beauty, passion even through times of adversity. We always have that choice. I also felt the subtle themes of Nine were very relatable of what we as a whole were feeling in the world. It was a confusing time, questioning what was next, trying to figure out what this “new normal” was going to look like. The cast jumped onboard, and we spent the next six months recording actors, musicians , creating a soundtrack, and then individually filming each person, then editing and weaving each separate person together.
Have you been delighted with the response and awards?
Absolutely! I never imagined the project would garner awards. It didn’t enter my mind until my editor asked me if I had heard of the Telly Awards. He mentioned I should look into it. Now [I] have three Tellys, including a Gold, and international awards as well. And hopefully more to come! It is so thrilling that the response has been so positive. I’m still on cloud “9.”
What do you love about the work of Maury Yeston, in particular Nine?
Maury writes such soulful, heartwarming, humorous and heartbreaking music and lyrics. I first worked with Maury when I was just out of college, creating the role of Christine in he and Arthur Kopit’s Phantom. So my introduction to his music started then, singing his soaring, breathtaking score. He is a master at reaching into the soul of his characters and writing from there. His music alone tells the story without even having to hear the lyrics. If you listen to the music, it completely informs you of where to go as an actor.
One time, during the world premiere of Phantom, we were in previews, and he thought the Phantom and his father needed a song together. I remember him happily coming into rehearsal the next morning saying, “I’ve got it!” He played it, and we all stood stunned in tears! To this day, it’s one of the most beautiful songs in the score. That’s the genius of Maury Yeston.
Nine has an element of many different emotional journeys in the score. Maury takes us in and out of Guido’s mind present and past with buoyancy. He captures the essence of each woman and her emotional journey with him through the music. The overture is my favorite. Maury said to me, “The women are the instruments. They are the orchestra for Guido. That is why they only sing on ‘la,’ lyrics are not necessary.” This is brilliant: the song highlights each woman in all her essence, beauty and feeling.
When did you realize you wanted to become a singer?
My mom took me to voice lessons when I was 14. The teacher told her she thought I had potential to become an opera singer. I quit because I was not interested. I wanted to play sports. So it wasn’t until I went to college at New York University to study acting that I started singing on the side with a voice teacher. It was called the Andy Anselmo Studios.
How did you come to play a solo concert at Irving Berlin’s New York home?
I would always hear my next-door neighbor in my building on 55th Street playing concert piano. She would always hear me singing. So one day we struck up a conversation. She works for the Consulate of Luxembourg, which is now housed in Irving Berlin’s former home, a beautiful brownstone. They very much keep Berlin’s presence alive. I mentioned to her that my great-grandfather, the composer and lyricist A. Baldwin Sloane, worked with Irving Berlin, as they were both original founding members of ASCAP. She asked me if I’d like to come and sing for some dignitaries visiting the consulate. I did, and we had a lot of fun. This led to another private holiday concert where Berlin’s family came to hear his wonderful music. They remembered him writing as children, right there in that living room! I even changed into my gown right in Irving’s former bedroom. It was surreal and an extraordinary experience. I will never forget!
What’s the future hold for you?
Wow! I wish I knew! Since we are just getting going with Broadway venues and theatre opening, I’m very much looking forward to getting back to live performing. I miss cast camaraderie and live audience interaction. I’m still busy with Project 9 and putting together a documentary of behind the scenes for that, and looking forward to directing more music videos! I was touring globally doing symphony concert work, which I love. I’m looking forward to getting back to that as well. I also have plans to hopefully get back to Abbey Road Studio 2, in England, where I’m planning on recording songs of Andrew Lloyd Webber with my friend, producer John Yapp. I am not quite ready to travel internationally yet though!
By John Soltes / Publisher / John@HollywoodSoapbox.com
Click here for more information on Project 9, produced and directed by Glory Crampton.
