Sophie Zucker Likes Real Emotions at the Wrong Time
Photo by Rachel Slakter
It’s important to point out that Sophie Zucker did not make out with her cousin at her grandfather’s funeral. But the protagonist of her new musical Sophie Sucks Face, definitely did, and is more than happy to tell you about her incestuous dalliance through characters, songs, and the occasional tap number. Through the show, Zucker proves herself to be a masterful storyteller, skillfully combining the theatricality of a big, brash musical with the intimacy of your best friend leaning in to tell you a juicy secret. It’s a delightful showcase for her cornucopia of talents, but perhaps equally as important, it is very, very funny. She spoke to Paste over Zoom about her inspirations, her anxieties, and her favorite joke in the show.
This interview has been edited and condensed for clarity.
Paste Magazine: You’ve noted that this show is a mixture of Bo Burnham’s Inside, Phoebe Waller-Bridge’s Fleabag, and Stephen Sondheim’s Company. How do you see those influences playing out in the production?
Sophie Zucker: Company has themes of growing up, settling down, and finding someone you want to love forever, so content-wise, I think that’s where it’s influential. In terms of Fleabag, I love the TV show, and found some clips of the stage production online and it was like, 90% comedic. I think that was sort of rare in terms of what you think a one-woman show is going to be, since often you imagine it as like, a long monologue about love and loss and all this kind of stuff. But Fleabag was very touching, and very sweet, but also so funny. And that was something I was really trying to do. As a comedian, this is my version of an hour. But it’s not an hour of jokes, it’s a narrative showcasing my best material. In terms of Bo Burnham’s influence, I was pulling from how he parodies different musical genres. That was something I wanted to keep in mind, where I didn’t just want the songs to be funny and clever given what was happening in the play at the time, I wanted them to feel like a Charlie XCX song or a country song. And because I was satirizing a specific genre, it would make the situation in which that genre was being used much, much funnier.
Paste: How did you first conceive of the show? You mentioned that these events happened in 2019 which to me seems like a very quick turnaround.
Zucker: To go even farther back, I’ve written musicals before. I wrote a musical with a few collaborators called Nervosa which was about eating disorders, and then I wrote a musical by myself called Misstressbate, which was about a female masturbation scandal and a high school. By the time I had the idea for Sophie Sucks Face, I was on my third musical. so I had been honing this muscle for quite some time. It didn’t just come out of thin air, but it did come to me kind of quickly, which is sometimes how you know it’s a good idea.
My grandparents died seven weeks apart, and we had two funerals for them, and it was a really strange experience. The first funeral was very touching and nice, and everyone got to see each other again, and we also kind of knew my grandfather was going to die. Then my grandmother died very unexpectedly. And my aunt got this text that was like, “What the fuck is going on with your family?” And that’s like how it felt, we were like, What the fuck is going on? Afterwards, I had this idea, but I didn’t want to write about a funeral. I didn’t want to write about loss and death. Honestly, it felt overdone. So I thought, maybe I’ll write about this girl who hooks up with her cousin at a funeral and thinks she’s never going to see him again. But then the second grandparent dies, and she decides to seduce him. And then pretty quickly I got these ideas of songs like, “Yoni Got Hot” and “It’s Not Cheating If It Is Gross.” I thought maybe it should be a movie, but I didn’t have enough money to make it a feature, so I was like, I’ll make it a musical, like I know how to do.
Paste: How has the show evolved from when you first wrote it to where it is now?
Zucker: The first time I did it was in this basement space in Gowanus called Life World, which is a great DIY space. We taped it, then I looked over the footage and I just analyzed it like a sports analyst where they’re going through the play-by-play. I figured out what could be cut, what could be trimmed, where the laughs weren’t as much, where I had to beat the joke, all that kind of stuff. But the overall structure, and the characters, and even like most of the dialogue didn’t change, it just got cut or tweaked. Between when I did it over the summer and now, I still went through and tried to improve the laughs, since that’s mostly what I’m playing for. And I added a tap number because my producer Zach Schiffman was like, “You could do a fake tap number,” and I was like, “Okay, I’ll do that!” And obviously, it changes in every space we’re in. We’ve had really elaborate lighting setups, and we’ve had none, and we’re trying to make the show as adaptable as possible.
Paste: You’ve talked about how this show is a defamiliarization of the “dying of a broken heart” trope. What attracted you to defamiliarization when you were writing this story?