Rodney Rigby Discusses NO LOVE SONGS
From the iconic backstories of JERSEY BOYS to the heartwarming generosity showcased in COME FROM AWAY, and now the raw, relatable energy of NO LOVE SONGS, producer
has shaped a diverse tapestry of musicals that resonate deeply with audiences worldwide. In the following interview, he shares how his upcoming production of NO LOVE SONGS draws him in with its authenticity, blending a rock-infused edge with intimate storytelling. Charting the show’s journey from the Edinburgh Fringe to its Off-Broadway premiere, Rigby reveals the cultural nuances that emerge with each new setting, as well as the universal themes that bind us all—particularly the challenging, transformative adventure of parenthood. With an eye for honesty and an unwavering belief in the power of live theatre, he illuminates the intricacies of shepherding a project from concept to stage. The synergy between co-directors Andrew Panton and Tashi Gore also comes into focus, illustrating how collaboration underpins the show’s poignant exploration of family and love. Whether he’s breathing new life into enduring classics or championing fresh stories, Rigby remains committed to taking calculated risks. Here, we invite you to discover the passion and process that drive one of musical theatre’s most forward-thinking producers. Welcome to a bold new theatrical frontier.
From JERSEY BOYS to COME FROM AWAY and now NO LOVE SONGS, you’ve produced a wide range of musicals. What initially drew you to No Love Songs, and how does it fit into—or challenge—your existing body of work?
I am always drawn to human stories, four guys from the wrong side of the tracks, mateship in our Australian world, in the case of JERSY BOYS, kindness and humanity within everyday people after the worst of events in COME FROM AWAY, the story of loss, and love against a backdrop of cruelty in Water For Elephants. I was struck by NO LOVE SONGS with its raw energy and truthfulness, that is it as much a rock gig as it is searching domestic drama, asking questions about life, relationships and love.
NO LOVE SONGS started at the Edinburgh Fringe, toured the UK, and just finished its Off-Broadway American Premier before arriving in Australia. How do you see the show evolving as it moves across different cultural contexts, and what unique flavour do you hope the Australian run will bring?
There is much that binds us humans and the challenge of parenthood is as old as the human race itself. How stories are told vary in language, tradition, style, structure, and context , but our shared traditions of music, storytelling, and humour with so many cultures, like the Scots show that we often have much more in common than you think. Placing our production that originated in Glasgow , in Newcastle, NSW made so much sense and will be more compelling because it will speak to “us” in our own language about issues that parents and relationships deal with.
You’ve been instrumental in bringing real-life stories to the stage (like COME FROM AWAY). NO LOVE SONGS is also inspired by true events. What do you think is the most compelling aspect of translating authentic experiences into a musical theatre format?
I am always attracted to the stories about the human condition – the truthfulness and authenticity in being able to tell share a narrative in the most entertaining way possible that touches not only our hearts but our intellect.
Kyle Falconer’s music and lyrics are the driving force behind NO LOVE SONGS. As a producer, how do you foster a supportive creative environment that allows an artist, especially one from a rock background, to adapt and flourish in the theatre world?
Kyle and Lara were beautifully supported by the show’s co-book writer Johhny McKnight and co—directors, Andrew Paton and Tashi Gore who gave them a creative environment, rehearsals process and production that was built on their personal experience into a theatrical form of a modem musical.
The show deals with the intense joys and struggles of new parenthood. Why do you believe this aspect of the human experience is so ripe for musical theatre, and what do you hope audiences take away from the story of Jessie and Lana?
We need to feel that we are not alone, and that relationships are not always easy, but we can evolve, learn, support each other and love.
Collaboration is central to any successful production. Could you speak to the dynamic between Co-Directors Andrew Panton and Tashi Gore and how their distinct perspectives shape the storytelling of NO LOVE SONGS?
The organic, personal core of this story evolved into this musical because of its two co-directors, both who are parents, so instinctively that there is a genuine and a true sense of responsibility of care not only to the original source to this story through Kyle and Lara but to Lucy and Keegan who play the two roles.
Throughout your career, you’ve tackled productions that run the gamut from large-scale Broadway musicals to more intimate plays. How do you balance commercial viability with artistic risk when deciding to produce a new work like NO LOVE SONGS?
New work is, especially work without a Broadway or West End pedigree and budget is extremely challenging. The state of economy, unknown title, what is about, no audience base, relative marketing budget – will enough people see it quickly enough to spread that “word of mouth” to encourage people to buy tickets – but if you don’t new work, what will we see – more revivals of shows that are older than I am. I want to be excited when I go the theatre, and I want audiences to share that experience – we live in a world where the very best story telling in one or two clicks away at home on streaming, that’s our competition, and I am up for it and invite audiences to share in the excitement.
Looking back, is there a particular project or moment that you feel best exemplifies what you stand for as a producer, and how does No Love Songs continue that legacy?
NO LOVE SONGS shares the same authentic core as JERSEY BOYS and COME FROM AWAY – all three have something to say about our humanity.
When working on a story that has both comedic and deeply emotional elements—especially one dealing with life-changing events like parenthood—what strategies or insights do you bring to ensure the show resonates authentically without slipping into sentimentality?
Simply having the very best creative team with Lucy and Keegan to share this show with us.
Finally, what do you believe is the next frontier for musical theatre—both in Australia and globally—and how do you see NO LOVE SONGS contributing to that future landscape?
I have one, which I am CRAZY excited about, but it’s not announced, it will open in the America later this year, and hopefully in Australia in the next couple of years…and it will not be playing in any theatre, sorry theatre owners!
Venue: Foundry Theatre, at Sydney Lyric, The Star, 55 Pirrama Road, Pyrmont
Season: 7 March – 13 April
Showtimes: Tuesday to Friday 7.15pm; Sat 2.15pm & 7.30pm; Sunday 2pm & 6pm from
Prices: $75
Bookings: CLICK HERE
