Menschen im Hotel by Vicki Baum

Grand Hotel started out as a book by German author Vicki Baum called Menschen im Hotel, or "People at a Hotel." 

Set in a grand hotel in the center of 1920s Berlin, the novel served as a microcosm of the modern world and remains Baum's most celebrated work. It was hailed as a "delicious and disturbing masterpiece," by New York Review books among many others.

The book was also adapted by Baum into a German stage play of the same name shortly after the book's publication in 1929.

Grand Hotel, The Movie

In 1932, Baum's novel was adapted into the American film Grand Hotel, directed by Edmund Goulding and produced by Metro-Goldwyn-Mayer, with a screenplay by William A. Drake. It won the Academy Award for Best Picture at the 1932 Oscars and has proven to be an influential film long since its release, notably containing the iconic line "I want to be alone," delivered by actress Greta Garbo.

In 2007, the film was selected for preservation by the Library of Congress in the United States National Film Registry for being "culturally, historically, or aesthetically significant." 

Grand Hotel, The Musical

In 1989, Grand Hotel, The Musical premiered on Broadway, with a book by Luther Davis, music and lyrics by Robert Wright and George Forrest, and additional music and lyrics by Maury Yeston. 

The show garnered 12 Tony Award nominations and five wins, including best direction and best choreography. It became the first American musical since 1985's Big River to top 1,000 performances on Broadway, and continues to play at multiple houses across the country.

Behind the Curtain

An Interview with Producer Marnie Near on Grand Hotel, The Musical

Interviewer: Grand Hotel, The Musical is such a dynamic, sweeping musical—what made you choose this show for The Alchemy Theatre’s 2025 season?

Marnie Near: Each year, Michael Cooper, The Alchemy Theatre’s Artistic Director, finds amazing and often unknown shows to bring to our Board of Directors. Then we have a chance to research the shows if we do not already know them and participate in a discussion about show choices for the season. In the case of Grand Hotel, the Musical, I’ve always been drawn to it because of its elegance, complexity, and emotional depth. The show weaves together so many personal stories in one glamorous, high-stakes setting, which felt like the perfect match for our company’s commitment to intimate, character-driven storytelling. Choosing a show is always the first—and one of the most important—steps a leadership team makes. It must resonate artistically, but it also must be logistically and financially feasible.

Interviewer: Once the show was selected, what were your next steps?

Marnie Near: Fundraising comes immediately after. Without the budget, nothing else can happen. I continue to work throughout the year with our board and donors to secure the funds we need to launch the production. Then, it was about Michael and I working together to assemble the right creative team—working with our amazing graphic designer Paige Freeman to create a visually stunning image for the show, bringing on a music director, Dr. Ellie Jarrett Shattles, who could handle the show’s lush score, a choreographer, Noah Wood, who could bring this show to another level of professionalism for The Alchemy Theatre, and our longtime partner and stage manager, Britney Salyer. We also are lucky to work with veteran set designers Holly & Patrick Crowley with Dynamic Duo Productions, Kallie Pierce, bringing expertise to our lighting and sound design, and Sarah Rosencranz with her gorgeous eye for costume design. And next, of course, was finding the right cast.

Interviewer: Casting can be a huge undertaking. How did you approach it?

Marnie Near: We held auditions, callbacks, and dance calls, all tailored to the unique demands of Grand Hotel, The Musical. It’s a show that requires strong triple-threat performers who can sing, dance, and act—often all at once. The goal is always to build a company that works well together and can truly bring the world of the piece to life.

Interviewer: And then come the logistics—rehearsals, marketing, ticket sales…

Marnie Near: Exactly. I worked to secure rehearsal spaces, coordinated schedules, and made sure the creative team had what they needed to do their best work. We also had to lock in a performance venue—we’re thrilled to be back at the Whisenhunt at ZACH Theatre. On the marketing side, it’s about building awareness and driving ticket sales—everything from social media to community partnerships to press outreach.

Interviewer: What’s something most people don’t realize a producer handles?

Marnie Near: Problem-solving. Things come up—scheduling conflicts, design challenges, unexpected costs—and it’s my job to keep the production on track without compromising the artistic vision. A producer must be both a cheerleader and a fixer.

Interviewer: What’s been most rewarding for you on this production?

Marnie Near: Seeing all the pieces come together—watching the cast bring the story to life, the audience connect with the work, and knowing that we created something meaningful from the ground up. It’s a joy to support artists and make theatre happen in our town of Austin, Texas.

The Cast of Grand Hotel, The Musical. Photo by James Redondo.