Interview with Drew Gasparini, We Aren’t Kids Anymore

Originally an autobiographical tale, We Aren’t Kids Anymore has evolved into a poignant exploration of the complex, yet fundamentally universal, experience of navigating our path through life, and all the emotional multiplicity it brings. In April there will be a concert performance of We Aren’t Kids Anymore at the Savoy Theatre following a successful workshop last year. The concert will star Dylan Mulvaney, Melaine La Barrie (Hadestown), Sam Tutty (Two Strangers (Carry A Cake Across New York)), and Aimie Atkinson (SIX The Musical).

This syndicated interview is with Drew Gasparini who wrote the book, music and lyrics to find out more.

Drew Gasparini. Photo by Michaelah Reynolds

Drew, WE AREN’T KIDS ANYMORE is a deeply personal yet universal exploration of growing up. How did the initial idea for this musical come to you, and what inspired you to bring this story to the stage?

When I turned 30, I was wildly unhappy, mostly because I had lost myself a little bit. As a writer, as an artist, I was lost in the mindset of “trying to get hired.” I was specking songs for the major studios like Universal, Warner Bros., and Disney, hoping to book a job writing the next big Broadway movie adaptation. I had forgotten why I loved writing. I had forgotten what my writing voice was because I was trying so badly to sound like what everyone else was looking for. These songs came out of those lost parts of me, and therefore they are the songs that helped me find myself again. I thought, “Oh, THIS is who I am, and this is what I should be sharing with people.” The minute I uncorked that thought, I couldn’t stop writing, and I found that more people found themselves in my experience as well. It was a pivotal thing to discover in the work. (For the record, there’s nothing wrong with big movie musical adaptations either! The Karate Kid, coming to theaters soon! HA!)

The musical explores the journey of self-discovery, the highs and lows of chasing dreams, and the challenges of growing up. How did you go about translating these complex themes into WE AREN’T KIDS ANYMORE’s musical format?

It’s always been the most complex thoughts and feelings that are the easiest for me to musicalize and translate into song. If I’m going to self-reflect, I don’t plan on doing so in a “skinny mirror.” It can be painstaking, sure, but it is always my most effective method of communicating everything I’m feeling. Whether it’s deep fears, humorous takes on life, deep-buried traumas, or once-forgotten memories.

WE AREN’T KIDS ANYMORE is structured in two parts: one focusing on the musical itself, and the second with you in concert performing some of your most iconic work. What led you to create this unique structure, and what do you hope the audience will take away from both acts?

Just to be clear, the eventual full production of the piece will not incorporate a concert for the back half of the evening, as WE AREN’T KIDS ANYMORE is a full-fledged one-act musical. But we decided to add a concert as a bonus for the event in April as a way for me to say to the audience face-to-face, “Thank you.” I am all too aware that I wouldn’t be where I am, nor would this show have grown into what it is, were it not for the unbridled and enthusiastic support of the theatre nerds who’ve supported my music by being a fan or singing my songs all over the world for the last 15 years. I am looking forward to sharing WE AREN’T KIDS ANYMORE in the UK for its world premiere, but I thought an additional THANK YOU was in order, hence the design of our Act Two concert.

The show has evolved from being an autobiographical story to one that represents a broader, more diverse set of experiences. How did you ensure the characters, crossing age, generation, and gender, remain authentic and relatable to the audience in WE AREN’T KIDS ANYMORE?

One of the biggest surprises was during the pandemic when the studio album of WE AREN’T KIDS ANYMORE was released, and the onslaught of messages I received were not just of people appreciating the material, but relating to it in their own very personal way. It was a quick way to learn that my existential moments of growth are an adhesive to so many others. Ultimately, this is a show about questioning what it actually means to grow up, and I don’t think it matters who you are, where you’re from, or what age you are… it’s an ongoing question. “Are we doing this right?” So once I saw that connective tissue from the material to most everyone, I realized this was no longer a show about me. It’s a show about us.

You’re known for blending genres like pop, rock, and country in your work. How do these musical styles shape the atmosphere of WE AREN’T KIDS ANYMORE, and what do they contribute to the storytelling in the show?

Most times, when I’m writing a score, each song sonically aligns with a character or the landscape of the piece. For a show like this, which is very undefined genre-wise, it’s important that the songs have a wide array of styles. But ultimately, I just wanted to incorporate enough variety from song to song to keep the audience’s ear engaged and re-engaged, while also ensuring there was something for everyone who performs the material. From pop-rock to folk to big Broadway-esque numbers, a bit of jazz, a bit of country—just like life, a bit of everything.

With a cast of Melanie La Barrie, Sam Tutty, Dylan Mulvaney, Aimie Atkinson, and Jenna Lee-James so far announced, what do you think these incredible performers will bring to WE AREN’T KIDS ANYMORE?

Each of them is so talented, but so unique as individuals in terms of what they bring to the table, and that is what I’m so excited about. This show is not about being a character in costume; this show is for performers to show up exactly how they feel that day and be that. And that concept takes a lot of bravery from the performers. A lot of bravery in the vulnerability. They can sing to the gods, which is a huge plus, but how they enter the room as individuals is something I’m thrilled to see on stage, and I think their fans will also get a kick out of it. The authenticity from these unbelievable humans.

The musical’s central theme is about navigating life’s emotional ups and downs, chasing dreams, and facing failures along the way. How do you think WE AREN’T KIDS ANYMORE will resonate with audiences, especially those at different stages of life?

Because the piece traverses so many different themes, and the cast is made up of so many different people, I feel immensely confident that everyone who sees this show will connect to it. Maybe not every word of it, but there is no doubt that no matter what stage of life you are in, this show will resonate with you. Which, as a writer, is a gift that keeps on giving. I will always see new things in my own material through the lenses of those who are experiencing it for the first time and seeing themselves in particular moments.

The show explores dreams, growth, and the messy middle ground between childhood and adulthood. Can you talk more about how you incorporated these ideas into the narrative and music of WE AREN’T KIDS ANYMORE?

The evolution of this piece has lived under the mantra: “Throw all the spaghetti at the wall and see what sticks!” It’s gone from a pile of songs (musicalizing my diary) to a studio concept album, to a song cycle, and there’s even been a screenplay written around the material. But for the sake of making this a stage piece, we knew it had to be something different. There are things I can’t say here without giving away some of our groundbreaking and convention-breaking surprises, but what I’ve done for this is sew the songs together with small vignettes. Not scenes with interactive dialogue per se, but sound bites and actions as if memories were being projected onto the wall from the minds of each performer. Those interstitial moments are the glue that keeps the concepts connected.

The Savoy Theatre is an iconic London venue, known for hosting some of the West End’s best productions. What does bringing WE AREN’T KIDS ANYMORE to The Savoy mean to you creatively, and how do you see the venue enhancing the show’s emotional impact?

It’s a great honor to have my work performed on such an iconic West End stage. There is something special about many theatres in London that can take something broad and make it intimate, as if you, the audience, are on the stage yourself. And I think that’s precisely what WE AREN’T KIDS ANYMORE at the Savoy will feel like—a big concept delivered in a way that makes the audience feel a part of it. I’m very ready for the Savoy, and I have a good feeling the Savoy is ready for us as well.

You also held open-call audition tapes for this premiere! What inspired you to create such a unique and open opportunity for aspiring performers to make their West End debut in connection with WE AREN’T KIDS ANYMORE and what can audiences expect from this?

WE AREN’T KIDS ANYMORE explores many different themes including chasing your dreams. I am a big-time believer in chasing your dreams. I know too well just how many wonderful artists exist in the world who don't even allow themselves the chance to try. Usually because of their upbringing, or how society has convinced them to think-- it's made these talented humans believe it's a ridiculous idea to chase your dreams.  I also know that there are bigger systems that would need complete dismantling in order to make more space for those who have the dream but have never felt welcome to the party. I felt like this would be a good example to set. To encourage fellow dreamers, and demonstrate the importance of discovering new talent. I am thrilled to have watched nearly one thousand audition tapes. I'm thrilled to announce our winner. I'm thrilled for the audience at the Savoy to meet a brand new talent who is making their West End debt. And I am even more thrilled to know how difficult it was to find a winner. The truth is, while making the decision, I have created a long list of people who didn't win that I plan on emailing personally as I have earnest hopes of getting to work with them one day. And finally, if there were one more reason to launch a contest like this it would be that this is not the time in our history to be discouraging anyone from being an artist or a creative. Quite the opposite in fact. We need human expression from every corner we can find it. It's our greatest weapon against destruction. I must say, I am proud of our team's effort in launching this contest. 

WE AREN’T KIDS ANYMORE has had a successful workshop and is now making its world premiere. What are your hopes for the musical as it continues its journey, both in terms of its impact on audiences and its future in the theatre world?

I truly hope that this musical (or whatever you want to call it!) continues to encourage audiences to listen to themselves, to question themselves. I also hope it encourages us all to call our parents, our loved ones, our mentors, to let them know we love them, or are thinking about them, or simply just to check in. The more technology inhabits our society, the more we miss each other. We are all going through something separately, so I hope this inspires “check ins” … And in regard to the theatre world, I truly see what we are doing as something theatre hasn’t exactly done yet. This whole show was developed by listening to audiences and performers, not assuming what audiences want based on what’s worked in the past. I hope the powers that be see our show as an example, try something new. Take the risks you’re scared to take.

We only get to live one life, don’t be afraid of failing if it means you got to try. We are trying something here.

We Aren’t Kids Anymore will play at the Savoy Theatre on 28 April 2025