The Sunny Hours in Concert

It was a joy to be in the cast of The Sunny Hours premiere in August 2024. A small group of singers will be performing an updated version in concert at the Gesa Powerhouse Theatre in Walla Walla on April 25. I spoke with playwright and lyricist Eileen Voiland about the original play, what she has changed, and the future plans for this heartwarming Washington State story.

As a new musical, readers may not know anything about The Sunny Hours. How do you describe this project?

Eileen Voiland: In swing-era Seattle, a bright and determined high school girl plans a future that bucks the conventions of the times, starting with attending college. Constrained by family, society, and economic hardship, young Catherine cannot buckle, even as her struggles are further compounded by personal tragedy and WWII. It is an authentic story based on a real person, told in the past and the present. By walking in Young Catherine and Present-day Catherine’s shoes, the audience feels the clash of history, society, and ideas — experiencing the vast changes that occurred in Catherine’s 100-year life.

What was your inspiration for The Sunny Hours?

EV: I was always intrigued by my mother’s college years. The Jesuit Fathers at Seattle College founded a Hiking Club for the post-Depression era students, and I loved the funny stories and the beautiful places they went, as well as the ’40s vibe of that time. I needed a unique trellis upon which to hang the story, and the hiking club suited my vision perfectly. My mother is an amazing person, and I wanted to tell her story in a genre that both of us treasure. She told me, “Honey, anybody can write a book!” So, I wrote a musical.

It took seven years from the very start of writing lyrics and working with a composer before finding a director to stage it. Musicals take an average of twelve years to get from a premiere to a large Regional Theatre or Broadway, so I am on the path! This show is fresh compared to many things out there; it’s thoughtful and heart-warming, it has themes to think about, the melodies are strong, and the characters and emotions connect with the audience.

You wrote the book and the lyrics. Who composed the music?

EV: Nancy Erickson Lamont, a Seattle Jazz standout, is the primary composer. Shawn Schlogel and Colin Rhoades also worked on the musical composition. Nancy played our opening song, Blue and Green Waltz, at one of her gigs. Then, we both presented a showcase to get the music out there.

The fully-staged production premiered in 2024. What was it like to finally see your show on stage?

EV: I was totally humbled. The actors and singers were so good — they made words on a page come to life. I was very relieved when the audience laughed at the first joke. It is terrifying in a way for any writer/lyricist to put work out there for the first time. You know the work is not perfect, but you have to see what works and what crashes and burns.

What did you learn from the premiere? Did you make any changes to the play after that?

EV: Ha! I completely overhauled the Second Act. Many of the ‘experiments’ I wrote into the script simply didn’t work. I cut a bunch of literary things that I thought were clever (but apparently, I was the only one who thought that)! I cut multiple songs and a ton of dialog. I boosted several characters to amplify the storyline. I let my readers critique it and worked with a professional to edit it. I am very happy with the tightness and the flow, now. Our audiences loved the music, but Nancy and I updated a few things to add depth and texture.

Tell me a little bit about this concert version of the musical. What do you hope the audience will experience?

EV: Through the seventeen songs in concert, the audience will get the gist of the story and its characters. They will feel the emotions and get a sense of the time, place, and history. We are adding some narration to help the audience follow the plot and the action.

Nancy and I purposefully wrote songs with strong melodies and their own signatures. The villain’s song, ‘Nothing Without Me’, has a very different flavor than Young Catherine’s dreamy ‘That’s Him’. Ella’s poignant ‘Laundry’ sticks in people’s heads for its relatability.

I write for all the senses — I like imagery that evokes feelings and memories. The lyrics for ‘Blue and Green Waltz’ came about when I asked my mom: “So, when you opened your front door on a spring evening to walk to a neighborhood dance, what did you hear, see, feel, smell?” The foghorns, bells, chimes, mist, hyacinth-dusted breeze — they all made it in! We use songs to create mood, explain characters, and even to bring out the relationships between characters. I want people feeling like they can’t wait to see the full-stage production.