"The Thrilling Journey of 'Music City'"

Harding, now based in Nashville and a hit songwriter for renowned artists like Blake Shelton, Keith Urban, and Kenny Chesney, was initially taken aback by the success of "Music City". He recalls, "If someone could have tapped the 12-year-old J.T. on the shoulder and said, 'One day you will have a musical in New York City and they'll be talking about you in the New York Times,' I would've thought they were crazy. It's truly a dream come true."

Zinn, who graduated from Grosse Pointe South High School and pursued a successful playwriting and acting career, was equally surprised by the show's success. He admits, "I never thought I'd be writing a musical. I have no musical ability and can't sing or play an instrument. But my lack of traditional musical skills has actually helped in this process as I'm not bound by the usual rules."

"The Roots of 'Music City'"

"Music City" was actually born out of a reunion of the two middle school friends. Harding recalls, "Peter and I were like 'Star Wars' characters C3PO and R2D2 in seventh and eighth grade. I loved music and we would often attend Grosse Pointe basement parties. I would be watching MTV, trying to figure out a Bryan Adams hook, while Peter would be under a ping-pong table trying to unhook a bra." Zinn remembers Harding's mother taking them to their first rock concert, Kiss at Cobo Arena, when they were 13.

After losing touch, they were reconnected by a mutual friend. Zinn heard Harding's song "How Did I Get Here" and realized its potential for a musical. This led to them getting back in touch and starting work on "Music City" about 11 years ago. Harding's career was taking off and he was writing hit songs, which they incorporated into the musical along with original material.

"Navigating the Challenges of 'Music City'"

"Music City" faced numerous challenges including rewrites, workshops, financing, and pandemic delays. Eric Tucker, a two-time Wall Street Journal Director of the Year and Artistic Director at Bedlam, helped shape the story and turn the 75-seat West End into a gritty Nashville-style honky-tonk. Zinn recalls, "For a while, we were trying to fit the show into the standard Broadway musical mold, but it just wasn't working. Bedlam said, 'Tell the story the way you want to tell it.' Sometimes it feels like a play with music instead of a traditional musical. There are long scenes with dialogue, which is not typical."

Harding adds, "There are no dancing horses in this show. The goal is to be authentic. Tucker and the actors do a great job, but we've gone to great lengths to make the audience feel like they're in Nashville." An open mic opportunity before the show attracts amateurs and notables, adding to the ambience.

"Looking to the Future of 'Music City'"

With just a couple of weeks left in the current run, Harding and Zinn are considering the show's future. Zinn hopes for another extension at the West End and believes Broadway could be a possibility. He says, "It's not a big Broadway production and I don't think it should be. Bedlam has created a style that suits the piece best. Whatever the future holds, I hope we can maintain that authentic feeling."

For more information, including showtimes and tickets, visit bedlam.org.