Exclusive Insights from Broadway Legends on Crafting Steve Martin's Hit Series 'Only Murders in the Building'

Summary

"Which of the Pickwick Triplets Did It?" in Only Murders in the Building is a tongue-twisting patter song with a big story impact.

The song was penned by esteemed Broadway composers Benj Pasek, Justin Paul, Marc Shaiman, and Scott Wittman, renowned for their contributions to Smash and various other musical productions.

Steve Martin exerted diligent effort to masterfully perform the demanding song and expressed satisfaction with the final outcome, which seamlessly blended pre-recorded segments with live vocals.

Only Murders in the Building season 3 has introduced a delightful musical element to the comedic true crime series, featuring standout songs like "Look for the Light" that would feel right at home in a Broadway production. However, the song that has the biggest impact on the story is "Which of the Pickwick Triplets Did It?", a challenging and fast-paced tune that Charles-Hayden Savage (played by Steve Martin) performs in the in-show musical Death Rattle. As the piece repeatedly takes Savage to "the White Room," it begins to strain his relationship with Oliver Putnam (Martin Short).

Given that Only Murders in the Building season 3 revolves around a musical, the songs had to meet the high standards of Broadway. That's why the talented writers Benj Pasek and Justin Paul, known for their work on Dear Evan Hansen and The Greatest Showman, were brought on board to write or co-write almost every song of the season, including "Which of the Pickwick Triplets Did It?" However, for this particular song, they enlisted the expertise of two Broadway legends, Marc Shaiman and Scott Wittman, renowned for their work on Hairspray. It's worth noting that Pasek, Paul, Shaiman, and Wittman have also contributed their songwriting skills to the beloved NBC series Smash.

Benj Pasek, Justin Paul, Marc Shaiman & Scott Wittman On Only Murders In The Building

Screen Rant: Did you ever collaborate beyond your shared involvement in Smash, a show that I used to eagerly follow every week and absolutely adored?

Scott Wittman: We never crossed paths with them during our time on Smash. We were all in our own separate spheres.

Benj Pasek: However, I do remember them as the kind individuals who gave us the opportunity to work on Smash, marking our debut in television. I'm not sure if I've mentioned this before, but I've heard that you all were attentive and endorsed our song. Thus, they are the ones responsible for our chance on the first TV show.

Justin Paul: We had to jump through their hoops to be able to be approved.

Marc Shaiman: We did recommend them. I remember saying, “You should get these young whippersnappers.”

Benj Pasek: Justin and I have been lifelong admirers of Marc and Scott. Being fans, Smash presented a monumental opportunity for us. It marked our first-ever song on television, which was incredibly significant. We've always desired to collaborate with them but never imagined we'd have the chance. So, this has turned into an incredible opportunity for us.

Does that mean that you, Justin and Benj, managed to include them in Only Murders in the Building?

Justin Paul: It all began with a fortunate twist of fate. We happened to be on vacation with our college friend Sas Goldberg, who was also with Benj. During their conversation, Sas mentioned that she would be joining the writers' room for Only Murders in the Building when she returned. Excitedly, Benj expressed our admiration for the show and offered our songwriting skills, always eager to create opportunities where none exist.

Benj Pasek: I was enthusiastically promoting our talents.

Justin Paul: The show didn't necessarily feature any music or have a specific plot. However, we expressed our willingness to contribute and emphasized our love for the show, especially since we live on the Upper West Side. We wanted to be part of Only Murders in the Building and presented our credentials.

Benj Pasek: A week later, she called back and informed us that not only did they want a song, but the entire season's plot revolved around a fictional musical. She mentioned that we might be interested in working on it, and they were enthusiastic about the idea. It was a fortunate coincidence. We were aware that there would be a few song moments, and we saw it as an opportunity to collaborate with some of our favorite people. We reached out to Marc and Scott, knowing the generosity they showed us on Smash, and because we had always wanted to work with them. We're huge fans, so this seemed like a fun chance to collaborate.

Justin Paul expressed excitement about the opportunity to collaborate with his favorite writers and musical theater idols. They approached these individuals with the proposal to write songs for Steve Martin or Meryl Streep. The show itself is centred around Broadway and promotes a spirit of collaboration. Justin Paul found it particularly intriguing that there is currently a TV show focused on Broadway, featuring the likes of Selena Gomez. Inspired by this, they decided to involve their favorite friends in the project, even though those friends had initial doubts about the outcome. Nonetheless, they agreed to meet and see what would come out of the collaboration.

Scott Wittman: Justin's recent speech made it clear that collaborating seamlessly was a challenge we faced. But in reality, the four of us came together and began crafting lyrics in an extraordinary manner—similar to how Scott and I typically do it, as well as Justin and Benj. It was just the four of us brainstorming ideas, with each of us contributing equally. Usually, I have a knack for recalling my own contributions, which can be annoying. However, in this instance, I'm uncertain and can only speculate about who wrote what. Regardless, the collaborative process was absolutely fantastic.

Marc Shaiman: Because we had never collaborated with anyone other than Bette Midler on a few occasions, being in the same room felt like shedding our inhibitions together. So, we took that plunge and it turned out to be a successful endeavor.

Logistically, how did you start the song? Was it just lyrics and rhythm stuff? I imagine you don't necessarily need a piano to get started on this kind of thing.

Marc Shaiman and Benj Pasek worked closely with John Hoffman to develop the music for the show. They started by analyzing the script and character descriptions, as well as the overall mystery plot. The inspiration for the music came from Pickwicks, which had a lot of alliteration. They wanted to create a patter song that would be challenging to perform and fit the concept of the show. They aimed to make the song complex, tongue-twisting, and full of alliteration, which became a central aspect of their creative process.

Then, honestly, the four of us gathered in a room and began by crafting the lyrics. Our initial line read, "Which of the Pickwick triplets is responsible?" We then pondered, "Alright, what words can we find that rhyme with 'responsible'?" It felt akin to having a flashlight, providing only a glimpse of what lay ahead. As ideas flowed, each person chimed in, offering their unique contributions. Gradually, but surely, we collectively continued progressing along the creative path.

There was considerable emphasis placed on Steve Martin's character struggling with this task throughout the season. How did it feel when he finally grasped the song? Was it truly as challenging as it was portrayed?

The vocals for the song in the show were a mix of live recording and pre-recording.

Justin Paul: The TV broadcast ended up being a combination of different elements. Normally, we would have had a pre-recorded performance, but due to some delays, they had only a few hours instead of a whole day to shoot that particular number. It's quite impressive to see Steve pull it off under such pressure.

Marc Shaiman: It was heartwarming to see Marty and Meryl, who had finished their parts, stay to watch Steve perform. The camaraderie among the cast is truly special.

Even watching the show, it seems like that's kind of the energy, which is great.

Marc Shaiman: Throughout my entire career in show business, this is one of the very few things we wrote that received no feedback from anyone.

Scott Wittman: It's true. I'm not sure if you've watched the video; they have shared some parts of it. We created a video of us reciting the lyrics, with Justin and me casually playing along, and their response was simply, "Yes, that's exactly what we wanted."

Justin Paul: We put a lot of effort into this project, and I believe that is partly due to our collective hard work and John's careful planning in the writer's room. The team had a clear vision for how to incorporate the song. The writing process was quite enjoyable because we often brainstormed ideas by thinking of interesting combinations like murder and infancy or investigation and babies. We would then challenge ourselves to come up with clever rhymes. Once we had a collection of these ideas, we asked ourselves how we could use them to create a song.

There were moments when we had great ideas but couldn't fit them into the song. However, most of the process was exciting. Since a patter song is like a puzzle, we focused on selecting our favorite components and assembling them together. We pushed the boundaries to see how zany we could make it. In the video that Marc mentioned, if you listen closely, you'll hear us say, "Will the baby get fried for matricide?" We did receive feedback on this line, and the suggestion was to change it to, "Will the baby get tried." This alteration still fits with the courtroom theme and the concept of a murder case, but it eliminates the imagery of electrifying a young child.

Props for getting the word “triptych” in a song, too.

Scott Wittman: I know. We were all thrilled. We literally were dancing with joy that we figured that one out.

Were there any reference points for inspiring patter songs that you had in mind while writing?

Benj Pasek: I'm certain that "Modern Major General" has had a lasting impact on all of us to some extent. It's hard to overlook its significance as one of the greatest patter songs.

Scott Wittman: I would choose Gilbert and Sullivan.

Benj Pasek: Maybe Gilbert and Sullivan or some Lerner and Loewe material. I'm not sure; I don't think we specifically mentioned any references. However, we all have a shared appreciation for classic Broadway show tunes, so we had a common pool of influences to draw upon, even if we didn't explicitly name them. We all recognized the same style that we felt the composition should embody.

Marc Shaiman: Scott and I frequently received feedback stating, "That song has too many words." However, we enjoy creating songs with elaborate lyrics. Occasionally, for certain productions, we were even cautioned that the extensive wording might disengage the audience. In this particular instance, it was refreshing to receive encouragement--

Scott Wittman: --to fully embrace it.

Benj Pasek: The engineered moment focused on the importance of the lyrics. John and the writers did a great job setting up the song in a way that made the audience wonder if the lyrics could be delivered. There were no distractions from other stage pictures or events that would take away from it. This allowed us to include intricate rhymes and internal structures, as the audience's main focus was on whether Charles-Hayden Savage could successfully perform the patter song. It really enhanced that aspect.

Marc Shaiman: It also created an earworm even before the audience actually heard it, which was enjoyable for them.

Scott Wittman: I attended the performance that day, but unfortunately had to leave due to continual delays. It was disappointing to have waited all day and then have to leave, but this is a common occurrence in the world of film and TV. Therefore, the first time I actually saw Steve perform was in the complete version that was released online. He was absolutely adorable and it was an exhilarating experience.

Justin Paul: I was unable to attend as well. I recall exchanging text messages with some members of the music team, who expressed their concerns about having only two hours to complete the entire thing. Out of all the songs in the season, this particular one was intentionally designed to be the most challenging in terms of both music and performance. We were worried about how we would do justice to it within the time constraints. However, our worries were unfounded as it turned out to be a complete and impressive rendition.

No one from the music team had ever witnessed his performance. The way he executed it, with his wild hand movements and unique rendition of the song, was completely novel. His entire performance was unprecedented. This is solely in reference to his performance, not the song itself: it can be described as iconic. I personally witnessed it; he approached it directly, and the majority of it was captured in a single take.

I adore the show's innovative presentation. It seamlessly integrates the full performance of the song with captivating shots of others attempting to crack the mystery. Were you aware from the beginning that it would be presented in this unique manner, without any breaks or interruptions? It seems to me that such a continuous approach is quite uncommon, even in musical-centric productions where there are often distinct cut points and transitions.

Marc Shaiman: Cutting away from that song is difficult because it serves as the driving force. Without it, the momentum would slow down.

Scott Wittman: It was gratifying to witness that the entire song was included. Typically, in other projects, something would eventually be cut or left out. Additionally, it was impressive that they presented it as is in the episode, alongside all the other elements. Nowadays, it's fantastic that they can also showcase just him, providing two versions to be appreciated. It is truly fulfilling.

Marc Shaiman: On Smash, we discovered that by continuously shifting keys, they couldn't make cuts.

Although it may not seem obvious, Steve Martin is actually a highly skilled musician too. Did he offer any input or suggestions regarding this?

Scott Wittman: He never asked for a different key or anything like that. He believed learning and performing the song was enough. Then we had Ian co-producing the vocals, and I have never witnessed anything like that before. I often think I am experienced working with singers, suggesting different approaches and knowing we can edit and choose the best parts, but what Ian did was beyond anything I had seen. However, Steve Martin was incredibly patient and open to any suggestions. He would say, "No, no, no. Give me a line reading. Sing it the way you imagine." And he would try it in various ways, it was extraordinary. He is Steve Martin.

Who did the orchestration? It is beautifully done.

August Eriksmoen, the orchestrator for the show, is an incredibly talented individual whom we have collaborated with in the past. What sets August apart is his exceptional style diversity, as he has showcased his abilities in both contemporary and classic Broadway compositions. Upon my first encounter with this particular chart, I immediately knew it would be exceptional.

There was a moment of uncertainty when August asked, "Can I push the boundaries?" To which we enthusiastically responded, "Yes, absolutely!" We are immensely grateful that everyone involved in the show, including the network, studio, and production team, were committed to creating an authentic Broadway musical experience. It was evident both onscreen, with the breathtaking set constructed at United Palace, and offscreen, with the recording of a well-sized orchestra and ample time to ensure its perfection. This project served as a tribute and love letter to Broadway, not only in its portrayal but also in the genuine appreciation and respect shown towards the intricate process of production in the Broadway industry.

About Only Murders In The Building Season 3

Now streaming on Hulu, season three of "Only Murders in the Building" follows Charles, Oliver, and Mabel (portrayed by Steve Martin, Martin Short, and Selena Gomez) as they delve into a murder within the behind-the-scenes world of a Broadway production. The untimely demise of Hollywood action star Ben Glenroy (played by Paul Rudd) interrupts his Broadway debut, prompting our trio to uncover the truth with the help of co-star Loretta Durkin (Meryl Streep). As director Oliver strives to salvage the show, their most challenging case unfolds. Join them in this thrilling new season!