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In Chuck Lorre’s sitcom Mom, our princess starts her quest as a waitress in Napa, California who, for want of a brave knight, has had to free herself from the prison of substance abuse. This is the premise of Ruslan and Lyudmila, the early 19th-century, 5-act opera by Mikhail Glinka, the composer known as the Father of Russian National Music. He frees her and they live happily ever after. But if a connection were to be made, here’s a plausible one: a brave knight goes on a quest to free a beautiful princess enslaved by an evil wizard. Finding the comedy in the darkness is difficult, but when we get it, it’s really rewarding.Ĭhuck Lorre insisted that there was no hidden message in the theme music other than hearing it and knowing it was the right music for Mom. We don’t want to do “a very special episode.” It’s still a comedy, and if you’re going to give us your time to watch it, funny is supposed to be part of comedy. It’s so hard to get “laughter through tears” right. The pathos and comedy are interwoven so naturally. Another class is shows with non-original theme music that is, however, already closely associated with the star/host, such as: Lawrence Welk Bubbles in the Wine. And Sergeant Preston's theme segued into The Maple Leaf Forever. I just love it.ĪGREE: With Mom you’ve really been able to touch on some serious themes without being maudlin or cloying. Alfred Hitchcock Presents Gounod's Funeral March of a Marionette. Every time the show opens, I’m delighted. I’m not sure where we found the Glinka overture, but it’s a thing of beauty. But it is trying to tie these stories together.
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And I didn’t want the music to be cute or pop-y, but at the same time, it took us quite a while for us to understand how to use classical pieces to pull you through from scene to scene to avoid clichés and things that sounded like the music was trying to be funny. The nature of the show delves into some dark areas. Ruslan Confronts the Head, Nikolai Ge, via Wikimedia CommonsĪGREE: Maybe, but you recognized in the Glinka overture an element of frenzy, which is one of the elements of Mom. What was the process of finding and choosing them like? There’s no real logic to this, it just felt right.ĪGREE: Aside from the overture, you decided to stay with a classical sound in the musical cues, or snippets, between scenes. But when we found the Glinka piece, it just made sense, it just sounded like it belonged. LORRE: Any kind of modern music to attach to this show just felt wrong. Still, that’s a lot to ask from a theme song, and a difficult musical line to walk. And I reached out to him to help me find something that would create a sense of urgency and energy and gravitas to something that otherwise doesn’t have it and in a way that thrusts you to the next piece of the show, almost as if the music throws you forward into the next scene.ĪGREE: Well, Christy Plunkett, the central character, does hurtle through life. I am friends with a magnificent cellist named Michael Goldschlager who lives in Australia. Traditionally, it’s a saxophone or, you know, something annoying that leads you into the next scene but doesn’t propel you through the show. The music is brief in between scenes, just interludes that tie scenes together. LORRE: The music is generally buoyant around a half hour sitcom, especially one shot in front of an audience.
The following interview has been edited for brevity and clarity. I spoke with Chuck Lorre about the decision to put classical music in prime time.
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Before turning to writing and producing some of television’s funniest and most successful sitcoms, Lorre started out as a guitarist and songwriter, giving Blondie’s Debbie Harry a hit with his song “French Kissing in the USA,” and later inking and producing the original tune for the animated series Teenage Mutant Ninja Turtles. Reznicek’s Donna Diana Overture did the same for Sergeant Preston of the Yukon.Ĭhuck Lorre, executive producer and co-creator of Mom, certainly could have written an original sitcom theme song, had he wanted to. In the early days of television, Rossini’s William Tell Overture told viewers it was time for The Lone Ranger. Those particular lyrics follow.True, news programs have used classical music to convey a sense of seriousness from the Scherzo from Beethoven’s Ninth Symphony used by NBC Evening News for the Huntley-Brinkley Report, to Rimsky-Korsakov’s “Procession of the Nobles” from Mlada, which opened Agronsky and Company, to a segment of Aaron Copland’s Appalachian Spring for CBS Reports. This is a HORRIBLY sad section of the song, which still gets to me yet. The two spent years together until Shep grew too old and had to be put down. It tells of a boy who grew up with his much loved dog, Shep. This song, which made me shed buckets of tears as a child, has been recorded by several artists over the years, but the version by Elvis is perhaps the most well known of these.
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