Creators of Theatre Row's That Parenting Musical discuss 'that colorful set', developing the show, and songwriting

Hey, tired parent over there! Put the kids to bed and head on over to Theatre Row in New York City for the hit Off-Broadway show, That Parenting Musical! The side-splitting musical follows the journey of two young parents who are in for a wild ride as they navigate having two kids: a danger-prone toddler and an overlooked younger sibling. The musical is meant to explore the wonderful yet nerve-wracking experiences of parenthood in an upbeat and powerful production for all to enjoy.

The cast includes Natalie Bourgeois as Single Friend, Max Crumm as Child 1, Vidushi Goyal as Child 2, Brian Owen as Todd/Narrator, Dwayne Washington as Dad, and McKenna O'Grodnik as Mom. Off-stage cast members include Mia Gentile (Understudy Mom, Single Friend, Child 2), and Brandon R. Mangan (Understudy Dad, Todd/Narrator, Child 1). That Parenting Musical is directed by Jen Wineman (Dog Man The Musical, FIVE-The Parody Musical). For a full look at the creative team, click here.

The show is as colorful and creative as you think it is and while the funny never stops, for parents of young ones, we recommend leaving the under-13 crowd at home as there are some sexual references and innuendos in the show. We wanted to get a peak behind the curtain to bring you more of the magic through the show's creators, Graham and Kristina Fuller, the Colorado-based husband and wife duo who have spent years developing this show through its many iterations, leading to an industry reading in New York City, to a now fully-fleshed out production!

Whether you're a few subway stops away from Theatre Row, or are willing to jump in a plane, train, or automobile, read on to find out more about the show before you step you enter the world of That Parenting Musical!

The Parent Watch: I wanted to get more insight from you both as the creators of this show. It really colorfully illustrates the timeline of a couple's life from the pregnancy of their two kids all the way up until when they go to school. [The show] was in development for, it seems, over half a decade, correct me if I'm wrong, and then premiered in Colorado. How has it changed since its original iteration?

Graham Fuller: We started writing in 2017, so it's almost seven years old. We actually began in November 2017. It’s gone through so many different readings and workshops. I would say that the current version of the show was about 75% there by 2019, after two years or so. Then, we had a COVID hiatus, and when we picked back up, we just kept tweaking smaller things. The bulk of the show was really written in those first two years.

Kristina Fuller: We started writing this show when our kids were two and five, and now they're nine and twelve.

It's been a while!

GF: In the journey of these young parents that you're talking about, we were living that experience with our two kids. We thought, all the things that are happening to us are amazing, ridiculous, funny, terrifying—all of it. We just started to write it out.

KF: We speak musical theater to each other because we've both been doing it since we were five years old. Anytime something would happen, we’d say, “Oh, well, this is obviously a Gilbert and Sullivan pattern song.” Our mentality is, “Oh, what would that be? That's a doo-wop song,” or whatever it is.

GF: When everything is being thrown at you and you feel like you’re caught in a hurricane, it’s hard. I feel like for us, the best way to get through anything is just to laugh about it. That’s really how these songs started. We realized that other parents were experiencing the same challenges and that they also needed a night to just go out and laugh about it, to feel like they weren't alone.

I was sitting in the audience, and everyone was laughing hysterically. I was cracking up! I’m not a parent personally, but I understand that mindset. I'm also a caregiver, so I get that desire to put your kids to sleep and have your own time. There were so many moments I really connected with. I think that's also a testament to the acting and the performers. The cast is incredible. I know some of them were part of the development, but many were new. Can you tell me about that and how you got this cast together for the off-Broadway production?

GF: Yeah! Vidushi Goyal, who plays Child Two, is from Colorado and has been with us for every iteration of this show since we had just four songs. We reached out to her and invited her to our house to hear some songs. We found a video of her in an a cappella group in college, and we thought, “Whoever that is, we want singing our music forever.” She's been with the project this entire time, which is exciting because now she gets to perform eight shows a week off-Broadway. Max Crumm. They have also been with the show through all the New York development. We had a 29-hour reading and a two-week work session. It’s exciting because the two of them together play off each other so well. They’re so funny and talented.

KF: For the other six roles—there are four on-stage and two off-stage swings—we began casting toward the end of the summer, about a month before rehearsals started. We were like, “Alright, this thing’s a go; let’s get it cast.” We flew out for one round of auditions, and then did another round. We watched a lot of videos, and we’re so happy to have found this amazing group of very funny, emotionally connected people who can perform the comedy and also the more sentimental moments of the show.

The songs are so powerful. Usually, especially with musicals, if I'm not familiar with it, I don’t look at the song list in the playbill because I want to be surprised. I was pleasantly surprised by every song! I also loved Max’s song, “A Little Bit of Space.” It really touched me. Since you guys did the musical arrangements, how did you come together to choose which ones fit for this show, especially that song?

GF: That was the very last song we added to the show.

It hit me hard!

KF: We have this awesome collaborator in Colorado, Dan Graeber, who is our co-arranger and orchestrator. We were looking for a song for Child One in the second act that would bring their identity back to the forefront and fill out their arc. We were very hopeful that Max would be back for this round, and he’s a big Muppets fan. We wanted a simple, folky moment, something reminiscent of “Rainbow Connection,” where we could experience the world through this child’s eyes for three minutes. Dan orchestrated it beautifully with the guitar, and that was the process for that song—it was the final one added to the show.

I also have to give props to the chemistry between the two leads. They were the focus of the show, and they just meshed so well. How did you navigate getting them to connect during rehearsals and finalize their songs?

GF: Oh my gosh! Dwayne Washington and McKenna [O'Grodnik] clicked when they got in the room together. Their chemistry was amazing. They were playful, fun, warm, and sweet with each other. It felt very natural.

KF: They're both so versatile, and those roles need that versatility. They're both really good rappers and singers of all types.

GF: They’re physical and can play. Both of them have so much depth and can portray loving, warm characters. It just felt very organic, and we feel very lucky to have them as our mom and dad.

I also have to address the big elephant in the room: the production and set design. It’s incredible! When I walked in, I thought, “Oh my gosh, all the toys!” It really feels like you’re in a home. There are different scene changes, but it still feels like I’m there. The bookshelves on the sides of the stage are just amazing. I know Tim Mackabee is the set designer. What was it like working with him and seeing his designs for this smorgasbord of toys and scribbles?

GF: As soon as we saw the model of our set on the first day of rehearsals, we knew he had hit the nail on the head. It looks like someone's house that has been taken over by children. It sets the mood perfectly. It’s so fun and colorful. Alan's [C. Edwards] lighting design really enhances it. They all nailed it.

I was so entranced! I wanted to get up there; it looks so inviting. This show feels very multi-generational. I'm not a parent, but I understand the mindset parents have with their kids. I know young people who just had kids—If they see the show, it’s like, “Oh, we’re living this now.” There were older people in the audience who have lived through it for years. Did you consider this multi-generational aspect while crafting the show? There are a lot of satirical elements, and the language and some of the sexual references are very funny. What was it like thinking about parents who might bring their kids?

KF: It was definitely a balancing act we were always cognizant of. We wanted it to be in our modern voice because we really wanted it to be primarily for parents who needed a night out and to just laugh with other parents about their shared experiences.

GF: Everyone has been a kid. Initially, that was who we were writing for. However, as people began to see the show—many of whom were involved in the creative process, especially in Colorado—who do not have children, nor do they want children, they connected with the show and really loved it. People would come and say, “Well, I’m not a parent, but I’m the second child,” or “I resonated with that song,” or “I cried during ‘Glide’ because I’ve raised my babies, and now my kids are in another state. I just remember that time so fondly.” We really did want it to be authentic in the way we speak and talk. We would narrate for our children in our voice. That’s how we wanted to write these child characters. The kids in our show have a very adult vocabulary. It’s what we would imagine them saying—essentially.

KF: Their minds filtered through our voices, until, actually, “A Little Bit of Space” is where we see the children start to develop their own voices, and that carries them through the remainder of the show.

Well, I, for one, loved it. It was so good, and I wanted to see more of it. Usually, with some shows, I feel like it comes to a neat conclusion. I was thinking, “I want to see the kids older.” That’s something that shows in the book and in the performances as everything comes together. I applaud you guys for creating such an engaging show off-Broadway and for making something that definitely resonates with this audience.

Go see That Parenting Musical at Theatre Row at 410 W 42nd St, New York, NY 10036. Tickets on sale through Jan. 2025. Buy tickets at Theatre Row.com!