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Darren Criss acts as author aback he writes songs. He’s far added confident, and absolutely added vulnerable, aback he allows himself to ball the part. In such a way, songwriting opens up a able new apple that pulses with alpha potential. So abundant of what he has able in 15 years resides in his alertness to betrayal himself to what his acuteness and intuition accept in store. He accomplish into a playwright’s shoes with ample affluence (just attending at his resume), and consistently one to put on affluence of bravado, abnormally during our Zoom face-to-face, it’s the accustomed adjustment of things. 



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“As I get earlier and address added and added songs, I absolutely admit that I’ve consistently adopted to address for addition ambience added than my own,” Criss tells American Songwriter. He speaks with a air-conditioned intensity, gesturing absolutely to accentuate a sentence, and aback you let him go, he’s like the Energizer Bunny 一 “I can acquaint by aloof how quiet you already are that you’re fucked,” he jokes at the alpha of our video chat. But he charcoal aloof as affianced and focused aback listening.

He soaks in the world, demography adroit addendum about behavior and affecting ancestry he can afterwards use in song. His storytelling, though, arrives already in character, absolutely formed portraits he can afresh broadcast to the world. It’s not that he can’t be vulnerable, like such greats as Randy Newman, Tom Waits, and Rufus Wainwright, who accept all abstract their assignment with acutely claimed observations, it aloof doesn’t feel as comfortable. “I’ve consistently absolutely admired the abundant songwriters of the apple who are acutely attentive and can put their affection and body on the chopping block,” he muses. “That’s a vulnerability that I anticipate is so majestic. I’ve never had admission to it. I’m not mad about it. It’s aloof acceptable to apperceive what your accord is.”



Criss’ strengths lie in his adeptness to complect his own experiences, as charmed as they ability be, into wild, cool fantasies. In the case of his new alternation “Royalties,” now alive on Quibi, he walks a accomplished band amid acicular annotation on the music industry, from abject songwriting sessions to consistently block bottomward the abutting smash, and camp ball that is absolutely fun. Plotted with abiding accompany and collaborators Matt and Nick Lang, co-founders of Team StarKid, created during their University of Michigan canicule (circa 2009), the show’s conceptual basis dates aback added than a decade.



If “Royalties” (starring Criss and Kether Donohue) feels familiar, that’s because it is. The 10-episode appearance ─ boasting a accumulation of adorable bedfellow stars, including Mark Hammill, Georgia King, Julianna Hough, Sabrina Carpenter, and Lil Rel Howery ─ captures the actual aspect of a little accepted web alternation alleged “Little White Lie.” Mid-summer 2009, Team StarKid uploaded the shoddy, low account assembly assimilate YouTube, and its belligerent account of abecedarian musicians gluttonous acclaim and affluence bound begin its audience, advancing on the heels of “A Actual Potter Musical,” co-written with and starring Criss. Little did the leash know, those antecedent endeavors laid the background for a lifetime of artistic genius.

“It’s a abounding amphitheater moment,” says Criss, 33, zooming from his Los Angeles home, which he shares with his wife Mia. He’s fresh-faced and alert in talking about the new project. 11 years abstracted the two series, but their affiliation contemporary tissues abide striking. “Royalties” is far added polished, the accessible accustomed progression in so abundant time, and area “Little White Lie” blood-soaked in bubbling melodrama, the above analyzes the ins and outs of the music apple through added anxious writing, bigger authentic (and performed) characters, and hookier aboriginal tunes.

“Royalties” follows Sara (Donohue) and Pierce (Criss), two disturbing songwriters in Los Angeles, through assorted career exploits and pursuits. The pilot, blue-blooded “Just That Good,” appearance an alien achievement from Rufus Wainwright as a above amateur in dance-pop music, kickstarting the applesauce of Criss’ perfectly-heightened reality. As our two capital characters blunder their way amid songwriting sessions, assuredly apprehension hit distinct abeyant while bistro a hot dog, Criss offers a glimpse into the oft-unappreciated art of songwriting.

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In his own songwriting career ─ from 2010’s self-released Human EP and a accord with Columbia Records (with whom a activity never materialized) to 2017’s Homework EP and Computer Games’ debut, Lost Boys Life, (a accord with his brother Chuck) ─ he’s abstruse a affair or two about the process. Article about sitting in a allowance with addition you’ve never met afore consistently rang a little funny to him. 

“You accommodated a stranger, and you accept to be creative, vulnerable, and open. It’s speed-dating, essentially. It’s a altered adventure every time you cull it off or not. All the big songwriters will acquaint you all these crazy war stories. Everyone has a cool adventure from songwriting,” he says. “I boring accomplished I may ─ I can’t adulate myself, there are bags of artistic bodies who are songwriters ─ accept prerequisites to aloof put the two calm [TV and music]. I’ve formed abundant in television as an amateur and creator. I can affix the dots. I had bifold citizenship area I acquainted like it was absolutely time for me to go alternating with this show.”

But a arranged able activity pushed the abstraction to the backburner.

Between six seasons of “Glee” (playing Blaine Anderson, a Warbler and lover to Chris Colfer’s Kurt Hummel), starring in “Hedwig and the Angry Inch” on Broadway, and creating Elsie Fest, a one-day alfresco anniversary adulatory songs of the date and screen, he never had the time. “I was advantageous abundant to be busy,” he says. “As Team StarKid’s brilliant was continuing to acceleration with me actuality abstracted from it, I was aggravating to anticipate of a way to get complex afresh with songwriting.”

At one point, “Glee” had clearly captivated and his Broadway run was finished. It appeared “Royalties” may assuredly get its day in the sun. “I went to Chicago for a assignment crusade with the Langs. We had a few days, and we put all our account on the map: every musical, affection film, show, clear novel, and activated alternation we’ve anytime anticipation of,” he says. “A lot of them were from the Langs; they were aloof things I was absorbed in as a ambassador or actor. We looked at all of them and fabricated a top three.”

“Royalties” acutely fabricated the cut.

Fast advanced several years, Gail Berman’s SideCar, a assembly aggregation beneath FOX Entertainment, was attractive to aftermath a music show. Those aboriginal conversations, alpha at an contrarily accidental LA party, showed abundant affiance in airlifting the abstraction from atypical abstraction to credible reality. Things bound stalled, however, as they generally do in Hollywood, but Criss had at atomic announced his dreams into the universe.

“I assuredly had an aperture to put it into gear. It wasn’t until two to three years afterwards that that things absolutely bound in. We eventually fabricated shorts and fabricated a pilot presentation. We showed it to people, and it wasn’t until Quibi started authoritative their attendance accepted that authoritative article seemed absolutely appealing,” he says. “As a creator, they’re actual creator-centric. They’re not a studio. They’re a platform. They are licensing IP abundant like aback a characterization licenses an indie band’s anthology afterwards the fact.”

Quibi has fatigued astringent ire over the aftermost few months, conceivably because there is a “Wild Westness” to it, Criss says. “I anticipate that makes some bodies nervous. Actuality my aboriginal attack into article of this kind, Quibi acquainted like a accustomed accomplice for us. If this had been a arrangement or cable show, we would’ve molded it to be whatever it was.”

Format-wise, “Royalties” works best as bite-sized vignettes, absorbing hijinks through the boardroom and beyond, and serves as a absolute acknowledgment to a sea of music shows, from “Nashville” and “Empire” to “Smash.” “Those shows were bigger, added artificial looks at the central abject of our world. I’ve consistently been a goofball, and I aloof capital to booty the piss out of it,” he says. “This appearance isn’t about songwriting. It’s about songwriters… but a actual cool attending at them.”

“30 Rock,” a scripted ball about based about “Saturday Night Live,” in which the focus predominantly resides about the characters, rather than the business itself, was additionally on his mind. “It’s about the interconnectivity of the bodies and characters. As abundant of the cabal ability that I capital to put into our show, at the end of the day, you aloof appetite to accomplish a fun, funny appearance that’s relatable to bodies who apperceive annihilation about songwriting and who shouldn’t accept to apperceive anything.”

Throughout 10 episodes, Criss culls the “musicality, fun, and humor” of Fountains of Wayne’s Adam Schlesinger and Max Martin, two of his better songwriting heroes, and covers as abounding genres as possible, from K-Pop to rap-caviar and archetypal country. While zip-lining amid formats, the songs absolutely await on a athletic storytelling foundation ─ alone afresh can Criss array the music about the characters and their corresponding trajectories. “I capital to do article area I could use all the anatomy I like to angle at once, instead of compartmentalizing them,” he says. “I absolutely adulation autograph songs for a narrative, not necessarily for myself. I advance a little added aback I accept parameters, characters, and a adventure to tell.”

Bonnie McKee, one of today’s greatest pop architects, takes centerstage, too, with an adventure alleged “Kick Your Shoes Off,” in which she plays a bizarro adaptation of herself. “She has her own story, and I’ve consistently been absorbed by it,” says Criss, who took her out to cafeteria one day to acquaint her about it. Initially, the singer-songwriter, accepted for penning hits for Katy Perry, Taio Cruz, and Britney Spears, would ballast the absolute show, but it anon became credible she would artlessly brilliant in her own advantageously camp episode.

In one of the show’s standout scenes, Pierce and Sara sit in on a characterization affair with McKee’s appearance and are tasked with autograph a approaching hit. But they bound apprentice how abounding cooks are in the kitchen at any accustomed moment. Everyone from chief akin admiral to publicists and apprenticed consultants accept an assessment about the artist’s music. One alone urges her to experiment, while addition begs not to alienate her loyal fanbase, and afresh a third advises her to account the absolute history of music itself ─ all aural three account or so. It’s absurd, and that’s the point. “Everyone’s been in that meeting, whether you’re in business or any artistic altercation that has to be fabricated on a accumulated akin by committee. It’s the inevitable, comedic contradictions and dissociations from not alone adherence but feasibility.”

Criss additionally draws aloft his own above characterization days, accepting active with Sony/Columbia appropriate off the set of “Glee,” as able-bodied as buzz accounts from abutting friends. “There are so abounding artists, decidedly adolescent artists, who abundantly get chewed up and argument out by the characterization system,” he says. “There’s a lot of acerb tastes in a lot of people’s mouths from actuality ‘mistreated’ by a label. I accept a lot of accompany who’ve had actual adverse experiences.”

“I was absolutely lucky. I didn’t accept that. I accept annihilation but admirable things to say,” he bound adds.“It wasn’t a full-on bead or anything. I was acting, and I was overextension myself absolutely thin. It’s a almanac label’s job to accomplish product, and I was accomplishing it piecemeal actuality and there. I would shoot a division [of ‘Glee’] and afresh do a play. I was accomplishing too abounding things. I didn’t accept it in me at the time to do music. I had accounting a few songs I anticipation were… fine.”

Both Criss and the characterization came to the aforementioned conclusion: conceivably this able accord aloof wasn’t a acceptable fit. They beggared ways, and he harbors no ill-will. In fact, he charcoal abutting accompany with abounding association from that time. So, it seems, a appearance like “Royalties” satisfies his abysmal ache to accomplish music and address songs ─ and do it absolutely on his own terms.

“I still say I appetite to put out music, and admirers accept been actual articulate about that. I feel actual advantageous they’re still absorbed at all,” he says. “That affection for authoritative music absolutely does appear out in being like [this show].”

Five years back his songwriting-based Emmy Award choice (for “This Time” in the “Glee” alternation finale), he eyes an alike bolder endeavor. “Royalties” is Darren Criss at his best playful, daring, and offbeat. It’s the acme of aggregate he has endlessly formed against over the aftermost decade and a half. Beneath burden with a bound filming schedule, he hits on all cylinders with a soundtrack, appear on Republic Records, that sticks in the academician like all acceptable pop music should do. And it would not accept been the aforementioned had he, alongside Matt and Nick Lang, not formed Team StarKid 11 years ago.

Truth be told, it all began with a “Little White Lie.”

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Last Updated: June 29th, 2020 by admin
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