Local composer scores, now promotes ‘Trolls’
By Sylvie Belmond belmond@theacorn.com
He began his career in New York, then moved to Hollywood to write scores for television shows and movies. Now Thousand Oaks resident Richard DeBenedictis is returning to his roots, creating musical scores for the theater.

DeBenedictis wrote the original music for “Trolls,” a production that opened at the Actors Playhouse in New York last month following a five-month run in Los Angeles and three months in San Diego. The play was written by Bill Dyer.

“I’ve had a wonderful career playing for the major stars, but now I’m ready to take on a new challenge,” said the composer, who favors acoustic music over the electronic art form.

Directed by Ole Kittleson, “Trolls” explores the lives of a group of middle-aged gay men who realize that growing old isn’t for wimps. As they celebrate a departed friend’s life, the men learn how to celebrate their own lives as they address universal themes of aging, relationships and the undying connection of true friends. They do this through song and dance, laughter and tears.

Now in his 60s, DeBenedictis began his career as a dance music arranger for Broadway musicals including “Do I Hear a Waltz,” “Fade Out–Fade In,” “Bajour” and the Lincoln Center revivals of “Annie Get Your Gun” and “Show Boat.” He moved to the West Coast to continue his career as a composersong writer for television, earning nine Emmy nominations for his theme-song creations for shows such as “Diagnosis Murder,” “Matlock,” “Father Dowling Mysteries” and “Columbo.” In Hollywood, DeBenedictis created the dance music for “The Night They Raided Minsky’s” and served as special consultant for “Funny Lady.” He’s now using his experience as a life-long composer to bring original musicals to life, hoping theaters will take a chance and try out new plays. However, that’s easier said than done, according to DeBenedictis. Most theaters, especially the small ones, can’t afford to do theatrical productions that aren’t known.

People don’t go to see original work unless they know a big name is involved. “It’s a risky proposition,” DeBenedictis said. It’s similar to what occurs at universities and other schools: in order to attract the numbers necessary to justify the costs involved with putting on a show, Broadway classics are usually performed, DeBenedictis said.

Broadway theaters generally don’t take chances with new material either, he said. When they do put on a new production like, for example, “The Lion King,” it’s because theatregoers are familiar with the plot, DeBenedictis said.