Brooke deRosa Brings Holiday Magic to Netflix’s The Merry Gentlemen with a Captivating Score

PH: The Merry Gentlemen is set to be a lively holiday rom-com with a musical twist. How did you approach creating a festive and romantic score that still feels fresh and unique for holiday movie lovers?

Brooke deRosa: What I loved about The Merry Gentlemen is its balance of humor, romance, and steamy moments. At its core, the film is a romantic story, and I reflected that in the music. I kept the score stripped down and understated for the intimate romantic scenes, emphasizing their emotional depth. In contrast, the larger scenes—whether involving family dynamics or the male revue—carry a festive and sometimes comedic tone, adding a touch of holiday cheer to the score.

PH: Could you tell us about your process for capturing the spirit of the holidays through music, especially given the blend of romance and comedy in The Merry Gentlemen?              

Brooke deRosa: The playful banter between the main characters was a perfect opportunity for comedic writing and allowed me to weave in festive holiday touches. You’ll notice that the holiday themes shine during the lighthearted, playful moments, while the serious and romantic scenes are accompanied by a more distinct and intimate sound palette.

PH: This film centers on a steamy musical revue. Did you have any specific inspirations for composing music for these dance sequences? How did you work to ensure the music would complement both the choreography and the story? 

Brooke deRosa: Most of the songs featured in the male revue were composed by David Feldstein, but I had the chance to arrange and create the piece performed by the Jingle Belles at the beginning of the film. This charming holiday tap medley was inspired by our director, Peter Sullivan, who envisioned a blend of the iconic opening dance sequence from Indiana Jones and the Temple of Doom and the festive flair of Holiday Pops. That clear direction gave me a solid framework for the arrangement, and Christine Lakin, our choreographer, brought it to life by refining the dancing to perfectly complement the music.

PH: Were there any specific instruments or musical styles you leaned into for The Merry Gentlemen to help create that festive, warm, and occasionally “steamy” vibe?

Brooke deRosa: Yes, we wanted the score to sound like a very modern score yet still festive. What I loved about this film is that it’s set during the Christmas season, surrounded by snow, which allowed me to use instruments that evoke a sense of winter, like the celeste, harp, and glockenspiel. For the romantic moments, everything in the film feels dreamy and magical, so I treated most of the instruments with extra reverb to create an ethereal quality. The music for these scenes is more minimal and less orchestrated, with a soft, quiet, and introspective vibe that feels intimate and lovely. As the story progresses, the same themes reappear but with a fuller, richer sound. 

PH: Your work spans such diverse genres and projects, from scoring superhero series like Luke Cage to conducting operatic pieces. How did composing for The Merry Gentlemen compare to your past projects?

Brooke deRosa: I had the incredible opportunity to conduct for Luke Cage, though I didn’t write the score for it. Experiences like that have been pivotal in shaping my musical journey, giving me a broad range of influences to draw from. The opening number the Jingle Belles perform leans heavily into the style of classical holiday pops—a sound that felt natural to me as a conductor, having worked with countless pops arrangements throughout my career. It’s a distinct departure from the rest of the score, and I was grateful for my classical background to help bring it to life. Over the years, I’ve had the chance to collaborate with a wide range of artists—from Snoop Dogg to Paris Hilton—exposing me to an incredible variety of musical styles and genres. I’ve also created nearly every kind of music imaginable, from opera to electronic, which has allowed me to thrive in a hybrid space where I love to fuse orchestral elements with electronic textures. For this film, the score needed to integrate seamlessly with the songs, and my diverse musical background proved invaluable. It allowed me to make key and tempo adjustments, ensuring smooth transitions and creating a cohesive, immersive experience for the audience.

PH: Looking back, what projects or influences have helped shape your unique style as a composer, particularly in the context of holiday films?

Brooke deRosa: I deeply love holiday movies, from timeless classics like It’s a Wonderful Life to modern favorites like The Holiday. But my absolute favorite has to be The Muppet Christmas Carol! My overall musical style is hard to pinpoint because it draws from so many influences. One of the first pieces I fell in love with was Andrew Lloyd Webber’s The Phantom of the Opera. I think it was his masterful blend of orchestral and electronic music that captivated me. Even as a child, I was drawn to classical composers like Beethoven, Tchaikovsky, and Mozart. By the time I was a pre-teen and teen, my listening habits consisted almost entirely of classical music and film scores. I admire film composers like John Williams, James Horner, Nino Rota, John Barry, Ennio Morricone, Alan Silvestri, and so many others. I absolutely adore Leonard Bernstein and his incredible versatility. And, of course, I’m a huge fan of Alan Menken’s magical scores for Disney movies—they’ve always been a source of joy and inspiration.

PH: You’ve also conducted for major television shows and popular music artists. How has this conducting experience influenced your approach to composing music for films?

Brooke deRosa: I’ve had the privilege of hearing and conducting some truly fantastic music, much of it in styles that differ greatly from my own. This has been incredibly beneficial, as it allows me to study these scores up close and learn so much from the unique approaches of other composers. It’s also given me the opportunity to see firsthand what works well to picture—and, more importantly, why it works so effectively.

PH: Your upcoming opera The Yellow Wallpaper and musical We Can Do It cover such different themes. What is it like switching between these ambitious projects and a holiday rom-com like The Merry Gentlemen?

Brooke deRosa: For me, creativity is creativity. While it’s important to keep each project distinct—with its own sounds, instrumentation, and themes—there are times when inspiration takes an unexpected turn. I might be experimenting at the piano, working on an idea for one project, only to realize it fits perfectly for something entirely different. It’s a natural part of the creative process, and it happens all the time.

PH: When you’re composing, how do you balance your artistic voice with the expectations or established style of a project like a Christmas rom-com?

Brooke deRosa: That’s always the challenge with film composing compared to concert composition—it’s essential to serve what’s happening on the screen. As a composer, you have to find a way to stay true to your voice while ensuring the music supports the picture. Sometimes, I get to be playful and quirky for comedic moments, and other times I have to rein it in and take a more subtle approach. For this project, everything was shaped by what Christmas sounds like to me and what I saw on screen. I also try to step into the characters’ minds, understanding what makes them tick, and then use my own voice to fill in the blanks musically. It’s about striking that balance between personal expression and storytelling through sound.

PH: For aspiring composers hoping to work on holiday films, what advice would you offer on capturing the nostalgia, warmth, and energy these projects often require?

Brooke deRosa: There’s a time and place for everything, so it’s important to balance the holiday elements with the thematic and emotional needs of the score. Look for moments in your own life to draw inspiration from—they can bring a personal, authentic touch to your work. And most importantly, have fun with the process!