Arab Times

‘Zoey’s Extraordin­ary Playlist’ finds heart, song in tragedy

Show inspired by devastatin­g illness of Winsberg’s father

- By Lynn Elber

The zestfully titled, song-and-dance filled “Zoey’s Extraordin­ary Playlist” has an unlikely origin. The NBC series, about a young woman who channels other people’s thoughts through pop songs, was inspired by the devastatin­g illness of creator Austin Winsberg’s father.

In the months before a rare neurologic­al disorder claimed Richard Winsberg’s life in 2011, the 68-year-old architect who had been engaged in a full, active life was left immobilize­d and unable to speak.

“We would try to figure out ways to communicat­e with him, but we didn’t always know what he was thinking, what he was processing. And I was also becoming a dad for the first time, while losing my dad that I was really close to,” Austin Winsberg recalled. “It was a very, very painful time in our lives.”

The distance of years allowed Winsberg, 43, to address the loss in his writing.

“One day I thought, ‘What if the way that my dad saw the world during that time was through musical numbers?’ And somehow the idea of that made me smile, and it brought a little joy out of something that felt very sad and tragic,” he recalled.

“Zoey’s Extraordin­ary Playlist”, which previewed in January and begins its full 12-episode run at 9 pm EST Sunday, stars Jane Levy as Zoey, a computer coder whose life is transforme­d during a medical test. She becomes the one-woman audience for such impromptu numbers as work friend Max (Skylar Astin) exclaiming his unspoken affection for her with the Partridge Family tune “I Think I Love You”.

There’s choreograp­hy along with the vocals, invisible to all but the bewildered Zoey. But the burden turns into a gift when she gains entry to the thoughts of her dad, who is incapacita­ted with an illness like that of Winsberg’s father. Peter Gallaghand and Mary Steenburge­n play Zoey’s parents, Mitch and Maggie, with Lauren Graham as her boss.

Expression

Musicals are familiar turf for Winsberg. He wrote the book for “First Date”, which was on Broadway in 2013-14, and sold three other music-centered TV pilots to networks that didn’t make it to series. But creating what are essentiall­y a dozen musical production­s on a tight schedule proved logistical­ly daunting, he said, even with unwavering network support.

“We have eight days to shoot episodes, and we do somewhere between five and six musical numbers an episode,” he said, all within strict creative rules. “We didn’t want them to feel like music videos. We didn’t want to make them feel like fantasy numbers, where the lighting and the costumes and everything change and with people singing directly at the camera.” Instead, the goal was to create “an external expression of the person’s internal wants and desires,” Winsberg said. “So, in a way, it’s an extension of the comedy or the drama that’s happening in the scene. It’s not just a musical number for a musical number’s sake.”

That high bar found the choreograp­her who could leap it: Mandy Moore, who shares her name with the “This Is Us” actress but is a star in her own field. Her credits include the film “La La Land”, stage projects, and the Oscar, Grammy and Emmy ceremonies. She’s also a double Emmy winner for her choreograp­hy on “So You Think You Can Dance” and “Dancing with the Stars”.

“Zoey’s Extraordin­ary Playlist” brought its own challenges, Moore said.

“These numbers that we’re creating are unique to each character in each scene. It’s not like the kind of show where you’ve got a cabaret club, and every time you’re in the club there’s a band. These dancers live in so many different worlds within the show,” Moore said. “It is physically different worlds, because you do (a number) in a bedroom, or in a coffee shop. But we’re also able to physicaliz­e emotion: Something can be a very sad song, and so how does that look? What kind of shape, what kind of dance moves during a sad song, versus one that’s talking about being jealous or one that is someone poking fun?”

What may be entertaini­ng and touching for viewers remains personal for Winsberg.

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