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I recently connected with Lucas Lechowski, Composer on The Performance. In this interview, Lucas discussed his process into his new film, collaborations with the director Shira Piven, and much more. Keep reading to delve into Lucas’ creative style and experience from working on The Performance.
Hey Lucas! First off, congratulations on your new project The Performance. How did you become a part of this project?
Thank you! A friend recommended me for the project, and after a quick chat with the director, Shira Piven, I started sketching ideas and creating little demos. It all felt so natural and engaging right from the start—I just couldn’t stop. And that feeling stayed with me until the very end of the process.
What did the research look like for you on this project?
Honestly, it feels like I’ve been researching for this project my whole life. My musical journey started with rigorous classical violin training in Poland, where I attended a specialized music school. But after school, I’d always grab my electric guitar and dive into a completely different musical world (after my obligatory violin practice of course!). Discovering John Coltrane eventually pulled me into jazz, which became a lifelong passion, and one that eventually brought me to the United States.
Over the years, I’ve had the chance to play with orchestras, string quartets, big band jazz, and experimental ensembles, exploring nearly every style of music. For The Performance, I drew from all those experiences—classical, jazz, folk, experimental and beyond—and it all came together in the score.
What were collaborations like with your director Shira?
Working with Shira was an amazing experience. She created such an open and collaborative environment where every idea was welcome and explored with genuine curiosity. Watching how one idea would spark another was thrilling—sometimes we surprised ourselves with what we discovered. It was an inspiring and deeply rewarding process.
How did you approach the composition for this film?
From the beginning, Shira and I wanted to stay true to the 1930s sound while giving it a modern twist. We avoided the usual big, brassy clichés often associated with the era, opting for something more nuanced and personal.
Harold’s story is incredibly layered, and the score needed to reflect that complexity. Themes like artistic fulfillment versus sacrifice, love versus abandonment, and excitement versus fear shaped the tone of the music. Finding the balance between these elements felt like a delicate dance in itself.
The dance numbers were another key focus. Writing for choreography brought its own challenges, but it was also incredibly rewarding to see how the music and movement came together.
How did this project differ from past experiences?
The musical range of The Performance is truly expansive. We blended modern soundscapes, lyrical classical themes, and intricately designed elements, all performed on acoustic instruments. Adding to that, we crafted big band jazz numbers with unique twists, incorporating folk influences and atmospheric layers.
These contrasts make this project stand out and feel distinct from any of my previous work. It’s rare for a film to give you so much space to contribute musically.
What excited you about telling this story through music?
The story of The Performance is so rich and relatable. The fact that it’s about a tap dancer, gave me plenty of room to explore it musically. The incredible quality of the acting, cinematography, dance sequences, editing, costumes, and production design made it even more inspiring.
What were the unique challenges of The Performance?
One of the biggest challenges was composing and recording the dance sequences with jazz musicians (to the picture). The choreography required precision while still capturing the authenticity and spontaneity of jazz. It was all about finding the balance between over-preparing and leaving room for the music to breathe and feel alive. We were fortunate to work with some truly phenomenal players who brought so much to the table.
What (if any) skills do you take away from working on a project like The Performance?
This project enriched me not just as a composer but as a person. It pushed me to break patterns and go beyond my creative comfort zone.
We delved into history, psychology, and social themes that still resonate today.
Translating all of that into music required me to connect deeply with the story—it was as much about feeling the film as it was about scoring it.
Can you tell us about your upcoming projects?
It’s still early to share specifics, but next year looks exciting. I’m working on some new film and TV projects, as well as another concept album.
I’m also hoping to return to performing and finally finish some personal projects. When my first son was born, I started recording songs for him and released an album with these songs. Then I kept writing as he grew, but I never got around to finishing the new songs. Now with my younger son, I feel like it’s time to bring those ideas to life. It’s a special kind of project that’s very close to my heart.
