In Oregon Ballet Theatre’s latest magazine, Marilyn, composer Shannon Rugoni spoke with OBT about her experience. The following interview has been edited for clarity and length.
When composing the score for this ballet, where did you look for inspiration?
Norma Jean—Marilyn Monroe—has always been at the heart of my inspiration. When I first began this project, I realized how little I actually knew about her beyond the iconic image the world remembers. So, I immersed myself completely in her world. I watched every film she ever made, studied documentaries, read countless books, and explored the perspectives of those who knew her. I also delved into the global and political landscape of her final years, seeking to understand the forces that shaped her life.
My goal was to capture her essence—and compose from a place of truth. I wanted to embody her emotions as authentically as possible, allowing the music to flow naturally from that understanding.
Throughout the process, I often imagined what Norma would have been feeling in each moment, letting those emotions guide the composition. The experience felt deeply organic—if a piece moved me to tears, gave me chills, or made me smile, I knew I was on the right track.
What challenges did you run into in creating this work, and how did they affect the music you ultimately wrote?
As a new mother, I feel like I am somehow more creatively inspired now than ever before. Despite how challenging the schedule was, the music flowed throughout this process, and I was bursting from the inside out with melodies.
Becoming a mother was a challenge I could never have fully prepared for—no matter how much I tried. Before having a baby, I had the freedom to create whenever inspiration struck. But with a newborn, I had to learn to create whenever I could, often running on little to no energy. My process became a patchwork of stolen moments—late nights, early mornings, and work sessions squeezed in between breastfeeding.
Rather than seeing my daughter as an obstacle to creativity, I embraced her as part of it. Babies are pure, uninhibited emotion, and her reactions became my unexpected feedback loop. When I played something sad, she would cry. If a passage was intense, she would scream. When the music was joyful, she would bounce—and later, when she started walking, she danced. Her responses reassured me that I was on the right track.
Motherhood has stretched me in ways I never imagined, but it has also deepened my creative well. Despite the exhaustion and the unpredictable schedule, the music poured out of me, and I found myself more inspired than ever—bursting with melodies, carried by this new, raw energy that only she could bring into my life.
Jessica Lind with OBT Dancers in rehearsals for Marilyn. Photo by Blaine Truitt Covert.
You’ve said you used different instruments to express different parts of Marilyn’s story. Can you talk about that?
Norma Jean had a white baby grand piano as a little girl—a treasured possession that was taken from her when she was placed into the foster care system. Years later, after achieving fame, she searched for it, bought it back, and kept it in her Brentwood home until she passed away. As a pianist, I felt an immediate connection to this part of her story, so I made the piano the backbone of the ballet—a musical representation of Norma herself, grounding the score in her essence.
Throughout the ballet, a violin melody weaves in and out—a sound that kept appearing in my mind as I composed. To me, this violin line represents Marilyn’s voice—the moment she found her identity as an artist, distinct from the world’s perception of her. It carries her emotion, her strength, and the vulnerability beneath her iconic persona.
Interestingly, I composed the finale first. I knew that if I could define the emotional destination of the ballet, everything else would fall into place. That final moment became my anchor, guiding the musical journey that led up to it.
Even today, many ballets are built by predominantly male creative teams. But Marilyn’s choreographer, composer, and costume designer are all women. What was it like to work with a female-led creative team?
Working alongside incredible artists like Dani and Emma is not only a privilege, but also a rare and significant moment. In my 15 years as a professional dancer and performer, I never danced for a female choreographer and only performed to a handful of compositions by women. The opportunity to collaborate with a female-led creative team is something truly special and long overdue in our industry.
More than that, I believe Marilyn herself would have found great joy in knowing that her story is being told by women—through music, movement, and artistry shaped by those who deeply understand her complexities. This project is more than just a production; it’s a celebration of women’s voices, creative leadership, and the power of storytelling through a female lens.
Can you talk a bit more about some of the artistic relationships that have come out of this production?
In keeping with the spirit of our female-led creative team, I was determined to find a female mixing engineer—something that, unfortunately, is still quite rare in the industry. After searching far and wide, I discovered Jennifer Nulsen. Her talent, expertise, and artistry are truly extraordinary, and I feel incredibly grateful to have her as part of this project.
Building relationships with artists who share the same passion and vision has been one of the most rewarding aspects of this journey.
Jessica Lind and John-Paul Simoens in rehearsals for Marilyn. Photo by Blaine Truitt Covert.
Did working on a ballet about such an iconic person change your artistic process at all?
My deep dive into researching Marilyn’s life approaching “Diamonds Are a Girl’s Best Friend” and “Happy Birthday, Mr. President” made composing even more daunting. These pieces are iconic—so much so that they transcend time and belong to collective memory. I felt an immense responsibility to honor their legacy while also finding a fresh, original perspective. The challenge was to create something that remained loyal to the essence of the originals while also giving the audience a new experience, something that felt both familiar and reimagined.
I leaned into everything I’ve learned from the performing arts. As a ballerina, I understand what choreographers need, and I also know what makes movement exciting and fulfilling for dancers. In the end, I’m incredibly proud of how both pieces turned out. Finding my own voice within the confines of such famous works was no easy task, but it was one of the most rewarding creative challenges I’ve ever taken on.
What has being a part of this project meant to you, both personally and professionally?
This experience has been one of the most challenging and rewarding of my career. It has tested my limits, pushed me in ways I never expected, and proved to me that creativity finds a way—even in the most chaotic seasons of life. And for that, I couldn’t be more proud.
Featured image: Shannon Rugoni. Photo courtesy of interviewee and Oregon Ballet Theatre.
Catch Marilyn at Portland’s Newmark Theatre April 4–13, 2025.
Marilyn will also be performed as part of Tulsa Ballet’s 2025–26 season, from April 30–May 3, 2026.
