
You know someone is talented when they have played with Kristen Chenoweth for Queen Elizabeth II, entertained the President and Ms. Obama and they have been mentored by Stephen Sondheim. Without question, Lance Horne is an astonishingly gifted composer and lyricist with few peers in America.
Lance Horne is 35 and was born in Sheridan, Wyoming. He father was a construction engineer and his mother a special education school teacher. Horne most likely gets his music genes from his grandmother who was a pick-up singer for the touring big bands in their hey-day.
The winner of an Emmy Award for 'Best Original Song', he has composed for and performed with such stars as Alan Cumming, Kelli O'Hara, Cheyenne Jackson, Michael Feinstein and Dwight Yokum just to mention a few. The Boston Pops invited him to their prized stage. The talented composed has released his first album entitled First Things Last

Some of the world's great concert halls have been graced with his presence including the Sydney Opera House, Apollo Theater, Carnegie Hall, Lincoln Center, The British National Theater and different venues in Vegas! You can find him entertaining from families at the Macy's Thanksgiving Parade to performing with Meow, Meow! Nothing daunts this much in demand musical genius.
Currently his next major project is the opening of Amandine in January in New York. The story of a 'intersex person' in 19th century Paris is extraordinary. Having personally listen to it in a workshop, the music is breath-taking.

The Amandine group is currently in the middle of a Kickstarter campaign to raise the final $30,000 and you can obtain all the information by clicking here. I strongly urge you to contribute to this stunning and powerful musical.
Here are five questions for Lance Horne.......
1. When did your love of music develop and what influenced it?
I've always heard music in my head, despite or thanks to having been born deaf in my right ear. The doctors said it may have been caused by my pressing against the side of the womb, so I like to think I was listening. I was born and raised in Wyoming, and worked the ranch with all the music that goes with it; I have a killer mp3 of me singing "Mama, Don't Let Your Babies Grow Up to Be Cowboys" before I could walk. On my second birthday, my Grandma gave me a miniature piano, my Dad gave me a football, I sat on the football and started playing the piano, and that was that. Sondheim pulled a "mon oeil" when I told him, but it's true. I would mow the lawn and listen to my four cassette tapes growing up-- Annie Get Your Gun, Easter Parade, The Sound of Music, and Pacific Overtures. I think someone meant for me to have South Pacific, but there I was with my Sondheim's most ambitious score. I would tune to the Golden Oldies radio at night and slept to Tommy Dorsey and Bennie Goodman. I sang in the Phoenix Boys Choir, and we backed up rockers Mister Mister on the song "Kyrie Eleison", and Bobby McFerrin on "Don't Worry, Be Happy" and "Ave Maria". I went to Interlochen, and that's when everything hit critical mass.
2. You are so talented in some many areas - composer, songwriter, cabaret performer, etc - how do you focus your energy and what is your priority?
Thank you. Someone changed my life when they told me to "schedule my priorities rather than prioritize my schedule." There are times when it's necessary to stay up all night writing or making charts, but there are other times when it's just as necessary to grab a salad at the Glass House Tavern with someone who makes your soul bloom. Whenever possible, I try to exercise different musical muscles in alternation. I love writing for the stage, film and television, and I love performing and mentoring. I'm a Libra, so I'm always an admirer of balance. I'm also haunted by the amount of things in the world that need our help. I am for whatever artistic means can help people awaken to social change.
In terms of focusing energy: I try to do one thing a day that scares me. That could be tackling an arrangement for Alan & Liza or doing the dishes! I try to only touch a piece of paper once, and I'm learning to ask for help. I avoid synthesizers, as they always mess up my body trying to make them sound right. I eat well, drink water, sleep, let my brain entertain itself with puns and mash-ups, and as John Cleese said, allow the creativity as much time as possible to form itself. I have an amazing, loving chosen family, and love collaborating with many of them; when Alan Cumming, Meow, Justin Bond, Ricki Lake, or Alexandra Silber call, I am there. There is enough time to do it all, and there is enough abundance. What is it Judith Light said in her Tony acceptance speech? "Divine choreography." She also told me, "Be where your ass is," and I'm committed to that as well.

Alan Cumming, Lance Horne and Cheyenne Jackson
3. In ten years, what do you want to have accomplished with your incredible talents?
I would like to have composed a few stage works with successful runs in New York and London, have Broadway runs with Alan Cumming & Meow, complete my Tennessee Williams dream piece, likewise with my Stephen King dream opera, have the stars align so Sydney Dance Company and I can create a full work together, put out the album I've been promising with my own vocals, would love to share a small or big screen with Alan (we call each other our musical husbands), reconnect with my parents, gather together our band of artists to claim a space in Manhattan to foster new productions (ideally? reclaim the Mark Hellenger theater for Broadway), give copiously to True Colors Foundation, ASTEP and AMFAR, create something from the ground up with Ricki Lake, score a film that can change people's hearts for the better, and a great team in place to make it all happen and mentor the next generation. I want to have struck a balance between work and private life with my boyfriend, loving each other and supporting each other's dreams.
4. What is the most embarrassing moment for you on stage?
Halloween a few years back in Connecticut at a fancy dress ball in a bank. I was on keys with the brilliant Stephen Brinberg (Simply Barbara) and Tommy Femia (a killer Judy Garland). You can imagine the stage set for great duets of Happy Days/Get Happy, etc. Unfortunately: Firstly, it was in a bank. Secondly, the husbands of the wives who had booked the act were incredibly conservative, and confused. Only they were allowed to dress in drag on Halloween, not two talented gender illusionists. And so it began-- during the opening number, members of the audience came up, insisting I stop playing. Barbara was coming down the stairs to Don't Rain on My Parade, and I had no intention of doing so. And so it began, a systematic war with the audience in which people dismantled the piano's mic, removed my sheet music (like I can't play The Man That Got Away by heart!), slammed down the keyboard cover as I was playing, and eventually cut off the lights and sound entirely, leaving Stephen and Tommy blinded halfway up the stairs. I ran up and got them, and we literally hid in the basement. The woman who booked us came downstairs with the news that she didn't have our payment (we were in a bank), and they had forgotten to book return travel to the city. As Dina Martina says, "The hits just keep on comin!"
And, come to think of it, there's a tie for this question. Meow Meow and I were playing at the Sydney Opera House, and the construct of the show was that the stingy producers had cut the budget, rendering comedic moments as we tried to make do without the Rockettes, a revolving stage, and the like. In my defense, no two Meow shows are alike, and I had simply mixed up which show we were likely to do that night. That said, when Meow ordered the band to strip to our underwear to save on dry cleaning costs, I suddenly realized it was near laundry day on the tour and I was wearing nothing but an incredibly skimpy bright green number leaving little to the imagination. I resisted and she recapitulated, in German, and as gave in to her and the audience's insistence and dropped trou, she and I both had to look upstage lest we break character. Hello, Sydney Opera House! And that may answer an unasked question-- as to why there are so many clips on the net of me accompanying Meow Meow in my skivvies.
5. Who are your musical heroes and mentors?
Stephen Sondheim
Heroes:
Benjamin Britten "War Requem", Leonard Bernstein "Mass", Mark Blitzstein "Cradle Will Rock", Jonathan Larson "Rent", John Adams "Fearful Symmetries", and the complete works of writer-performers Marvin Hamlisch, Nadia Boulanger and Annie Lennox.
Mentors:
Stephen Sondheim wrote me letters back in High School and told me to study with his teacher, Milton Babbitt. I took his advice and it changed my life, on top of the mentoring he has offered ever since. Hal Prince took me under his wing the day after I graduated high school. I interned for him before going to Juilliard, and he taught me integrity and attention to detail. Mary Rodgers Guettel was the President of the Board at Juilliard and looked out for me above and beyond the call of duty, giving me my first ASCAP prize and sneaking me in alongside her to her revival of Once Upon a Mattress as well. Adam Guettel and I met thanks to his mom and Public Theater's Wiley Hausam. Wiley gave me my first break at Joe's Pub during its opening week, and Adam produced my demos that ended up receiving the Jonathan Larson Prize. Throughout my Bachelor's and Masters in Composition at Juilliard, Milton Babbitt taught me composition with equal time spent on serialism and musical theater, working me through his own unpublished musical and reviving the lessons he'd taught Sondheim. My first day at Juilliard, the air conditioner had broken. I walked in to my first lesson with Milton, and he was at the piano, belting out "We're havin' a heat wave... a tropical heat wave!" and I knew I'd met a mentor for life. Mary Anthony Cox took me under her wing at Juilliard, putting me through the paces Nadia Boulanger had put her through, as did Phillip Lasser in Paris. Stephen Schwartz gave me a lesson while I was interning for Hal, and continues to call me on my birthday. It's my favorite call of the year. Diane Borger puts together new work at ART in Boston, and straddles the line between a hero and mentor. Likewise, Michael John LaChiusa, who always writes the right thing at the right time on every level.
Here is Alan Cumming with Lance Horne singing Lance's "American" at a benefit for Obama this past September.