When Lourds Lane wrote her female superhero musical, SuperYou, about a comic book artist who learns to love herself when her own super heroine creations come to life, she was in a dark place. “I wrote the musical at a time when I was navigating through pain and lack of self-worth,” says the writer, composer and performer.
Lourds Lane (top center) with the SuperYou cast from top left: Kennedy Caughell, Lane, Justin ... [+]
Lane was dealing with heartache, crying her eyes out. Then one day a song popped up on her playlist that energized and gave her hope. “At that moment, I thought, “Man, I wish I wrote that song,” she recalls. “And then as I listened more, I realized that I did write that song. I was feeling rejected, dejected, depressed, and when my own song sang to me and empowered me in my darkest moment, I realized that maybe what I offer the world matters.”
Inspired by the salve that her work can bring, Lane started writing. “With the theme of “don’t wait, create,” the protagonist learns that art heals. And in authentically expressing our own unique art with the world, other people can heal as well.” As the lyrics in her song “Don’t wait, create” go, “Create a world where words will never hurt you.”
On July 20 and 21 a concert version of SuperYou will be performed at Carnegie Hall. Directed and choreographed by JoAnn Hunter with music supervision and arrangements by Wendy Bobbitt Cavett, audiences will experience the songs from the show and get a glimpse of the story of a defeated comic book artist who finds her voice and learns to love it. SuperYou contains a modern score chock full of power-ballads and rock anthems. “The main themes of the show are about resilience, getting on the other side of grief, and remembering your worth,” says Lane. “These themes resonate now more than ever.”
Originally scheduled to premiere Off-Broadway in May 2020, the show made history in June 2020 to be one of the first theatrical productions to perform live for an audience since the pandemic. The show was held live during two nights of socially distant concerts from the beds of pick-up trucks at an upstate drive-in.
Produced by Melissa M. Jones and All Awesome LLC and held at Carnegie Hall’s Zankel Hall, the concerts are presented by Jan Warner and The SuperYou FUNdation, a 5013c also created by Lane. Like the show, the organization is devoted to inspiring young people and adults to step into their most empowered superhero selves through music, performance, and art. The non-profit doesn’t just empower youth. “We remind adults of their superhero awesomeness as well,” she says. “Our goal is for people to acknowledge and celebrate their innate superpowers, along with the superpowers in others, so that collectively, we create a world that is more connected, inclusive and kind.”
Lane also established The SuperYou FUNdation so she would have the opportunity to say all the things that she wishes were told to her when she was a child. “There was turbulence and abuse in my home growing up. So often, I wanted someone to tell me that everything was OK. That I mattered and was perfect in every moment just as I was,” shares Lane. “My mission is for youth to realize their amazingness sooner than later so that they recognize that they have the power to positively impact others. When people feel valued, they feel inspired to add value to the world.”
Jeryl Brunner: In the show you play Rise, a galactic rocker misfit superhero. How are you similar?
Lourds Lane: I was never the cool kid. Even today when I look in the mirror, I still see that nerdy kid. I was one of the only BIPOC kids in my school, with glasses, and braces and braids, who didn’t fit in. I felt like such an outcast that I didn’t speak much. So, I was placed in remedial classes, which made my Filipino tiger mom’s brain short circuit. She complained to the school and had me tested, which ultimately led me to skipping a grade. Being the youngest in my new grade only amplified my feeling of being an outcast and misfit so I spent most of my formative years developing other skills and talents to create a world of my own where I fit in.
The best part about playing Rise is that I get to reclaim my own misfit youth with freedom and joy and wear my scars with pride. I can celebrate the story of that nerdy kid by singing “I have no shame in what I see,” including elements of the rocker girl who I ultimately became, knowing that all of it is me.
Brunner: When the Off-Broadway premiere of SuperYou was shelved by the pandemic in March 2020, what inspired you to be able to safely have socially distant concerts that summer?
JoAnn Hunter: The weather was getting warmer and the news of people gathering outside was being recognized as much safer. I saw a photo in the paper of people gathering in a Brooklyn park where they outlined boxes for those in separate groups to congregate. It looked fantastic. Then I read an article in the New York Times about a Czech theatre company that kept their theater alive by building a stage in a parking lot, performing in front of people in their cars.
I started thinking about actual drive-in movie theaters where you are automatically at least six feet apart in or on top of your cars. My husband and I drove past a drive-in movie theater and saw a huge line of folks. I read that Keith Urban set up a concert in a drive-in movie theatre for the healthcare workers. I called Lourds and Melissa Jones, our lead producer, and said “We should do this. We can do this.”
Brunner: How did you make it happen?
Hunter: Melissa found a drive-in in Amenia, New York, about two hours north of the city. We visited with our sound designer Brian Ronan, lighting designer Ryan Ogara. I had to figure out how to elevate the actors so all the cars in the back rows would be able to see. The owner of the drive-in told us about these two comedians who were planning on performing there. I asked, “are they building a stage?” He said, “No. They are going to be on top of cars or trucks.” Ding. Ding. Ding. I started thinking of flatbed trucks back-to-back to create a stage. I still had to be mindful of our actors—being safe and performing a safe distance from one another. Pick-up trucks! They would have their own private stage and stay at a safe distance from each other yet still perform together.
Brunner: Between the pick-up trucks and performing at Carnegie Hall, what happened with SuperYou?
Lane: Our show was supposed to go up twice in two different theaters, but pandemic-related issues shut us down. We released a concept album. Then a movie of the pandemic pick-up truck performances was released on Broadway on Demand. Our music went viral. It all started when we posted a video from rehearsal and asked if anybody wanted sheet music. Suddenly, we had thousands of requests and began celebrating fans from all over the world who cover SuperYou music every week on #FANCOVERFRIDAY.
The Carnegie Hall concert will feature some of the thrilling voices on Broadway and will also showcase the work we do with The SuperYou FUNdation. Buses of marginalized and at-risk youth and adults who have done workshops with our team will be attending the concert in their own self-designed superhero capes. My hope is that people will walk away feeling like superheroes, even if they are not wearing capes.
