'Fannie Lou' Musical

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“I write so many different things and work for so many different people. In terms of arranging and orchestrating, it’s whatever the client wants. ... [However,] if it’s not interesting,
I don’t want to
write it”

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Composer-arranger-orchestrator Cheryl Krugel-Lee is one of those artists whose multiple talents allow them to become involved in a number of creative endeavors. Add another asset to Cheryl’s above-mentioned strengths: conductor. That’s the one she utilized on Oct. 9, 2014 when she led the six-piece instrumental ensemble that accompanied actor-singers in “Scenes and Songs from Fannie Lou: At Carnegie Hall.”

Of course, those other hyphenated talents undergird Cheryl’s ability as a conductor. Being an active arranger and orchestrator whose work is often showcased enhances her musical insight in other areas.

“I have melody and harmony. How do I make it sound better?” Cheryl said about the thinking process she goes through when orchestrating a composition. She starts from two basic places, she said.

“First, you have to know the range of instruments and know what sounds good,” Cheryl noted. “Knowing that an oboe, for example, doesn’t sound good from about middle C and above -- you get this ‘duck’ sound. So, you have to know what sounds good on an instrument, what’s technically possible on an instrument.”

The second factor that influences Cheryl’s orchestrations and arrangements is the intended audience.

“Knowing how that sound comes out to an audience” is important, said Cheryl. “For example, if you want a wistful, melancholy, beautiful sound, an oboe is good for that. You have to know how the audience is going to interpret what you’re trying to orchestrate.”

Originally from Chicago, Cheryl’s formal introduction to music came at age 9 when she began taking viola lessons through the public school system. The conductor of her high school orchestra was “really inspiring,” she said, and set the tone for her future career choice. “He laid the groundwork. As a conductor and an educator, he was just very fun.”

He also helped establish opportunities for students.

“I started arranging when I was a sophomore. I was allowed to have my music performed by groups in high school. His encouragement allowed me to do that,” recalled Cheryl.

She went on to study music at the University of Illinois at Urbana-Champaign, earning a bachelor’s degree in composition. She holds a master’s degree in music from New York University, where she concentrated in scoring for film and multimedia.

“One of my favorite composers is [film score Academy Award-winner] John Williams. He writes leitmotifs that are really cool for film,” said Cheryl. “He writes in sections. There’s always something happening with his phrases.”

Cheryl, who honed her skills on high-profile projects while an undergraduate at UIUC, now lives in Brooklyn with her husband. From that freelance home base she’s worked on numerous projects throughout the New York City area and beyond. They include scores for film and theater, music for web series, and orchestrations for Timothy Young’s Anthropomorphic, the Off-Broadway production Honestly Abe, and the movie musical “Coal Keeps the Lights On.”

“I don’t have a set voice” as a composer, said Cheryl. “I write so many different things and work for so many different people. In terms of arranging and orchestrating, it’s whatever the client wants.”

Cheryl does have one major requirement, however.

“If it’s not interesting, I don’t want to write it,” she said.

Cheryl Krugel-Lee

Perhaps one of the most challenging aspects of her career is “having to create opportunities for myself as a freelancer in the music industry,” said Cheryl. “The opportunities are not going to find you. You have to create them.”

Cheryl has done that in part by working as a member of the creative team on new  and emerging musicals. She has accomplished that by adopting and implementing a forward-thinking philosophy.

“It’s sort of getting in on the ground floor,” she explained. “They get to know you. They know you’re a hard worker. Then they’ll hire you again -- or, at least you’ll have the experience and the credit on your resume.”

Such was the case with Fannie Lou. Cheryl served as music copyist for the Off-Broadway world premiere in 2012. When the conductor of that run was unable to participate in “Scenes and Songs from Fannie Lou: At Carnegie Hall,” Cheryl was asked to fill the position. She also helped arrange one of the featured songs from the score.

“The fact that Cheryl has such a versatile creative voice has been a huge help as we continue to move forward with Fannie Lou,” said composer/arranger Felicia Hunter. “When the conductor position became vacant, she was the first person I thought of asking to take on that responsibility. She unhesitatingly met the need we had. She was enthusiastic, and jumped in with both feet. I’m very appreciative of that.”

“I really hope to sort of help bring it to the next level,” Cheryl said about Fannie Lou and other productions to which she brings her extensive talents. “We’ve got this great show, let’s make it even better. I’m very excited for it all to come together.”

To learn more about Cheryl, please visit her website here.