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New York-based flutist Janet Axelrod has spent her career in the spotlight — though not always centre stage. With decades of experience performing in Broadway pits, concert halls, and television studios, she’s now stepping forward with a project of her own: Act One, a striking new album released earlier this year on Freedom Road Records.
The disc features six newly commissioned works for flute and piano by some of Broadway’s most respected composers, including David Chase, Gary Adler, Joseph Church, and Mary-Mitchell Campbell. The result is a fresh and vibrant collection that pushes the boundaries of traditional flute repertoire while staying rooted in expressive, melodic music-making.
A Life on (and Below) the Stage
Axelrod is no stranger to high-pressure performance environments. She served as principal flute and piccolo at Radio City Music Hall for more than 20 years and has performed in long-running Broadway productions such as The Lion King, Wicked, Phantom of the Opera, and Finding Neverland.
She continues to perform with major ensembles like the New York City Opera, the New Jersey Symphony Orchestra, and the Orchestra of St. Luke’s, while also maintaining a busy teaching schedule that has included masterclasses at Juilliard and the Manhattan School of Music.
Reflecting on her time at Radio City, Axelrod recalled how she got the job: “I started as a substitute, which we call subs,” she said. “You got called pretty much as an emergency and you went there and sight-read. I must have done an OK job… and I sat there for many years until very, very sadly, the man who had the job for over 40 years passed away.” She was then offered the position, and the rest was history — two decades of up to six shows a day in a tightly knit orchestra family.
A Personal Project with a Purpose
Act One began not as a career move but as a way of giving back. Axelrod wanted to offer something new to the next generation of flute players — repertoire that felt fresh, exciting, and technically engaging.
“I was thinking about how to give back to the community,” she explained. “I've taught every level… and it seemed to me like we have a lot of repertoire that we were still using from when I was a student. And I thought about how to freshen that up.”
Rather than seek external funding, she commissioned the works herself. “Grants might or might not allow it to happen,” she said. “I decided I really wanted it to happen.” She offered each composer a fee, along with the promise of a premiere performance and a first recording.
Clear Vision, Creative Freedom
While the composers were given freedom, Axelrod offered some gentle guidance. “Believe it or not, the guideline was to create something that had melody… that had groove, which is missing sometimes from classical recital repertoire… enough technique to make it challenging… and I’d like it to have a feel, but not be jazz-esque.”
The result is a set of pieces that strike a rare balance: accessible but not simplistic, lyrical yet rhythmically alive, and technically satisfying without sacrificing musicality. Axelrod’s hope is that they’ll appear on flute recitals and student juries for years to come.
Music That Tells a Story
Each piece on the album carries its own narrative weight. Touch and Go, written by Joshua Rosenblum in 2020, reflects the uncertainty of the COVID era. “OK, we’re going to be out of isolation — and then nope, clamped down for another five weeks,” said Axelrod. “He made a piece of music that also does that.”
Mary-Mitchell Campbell’s Feuille dans un ruisseau. — French for “Leaf in a Stream” — offers a more introspective mood. Campbell, known for her work as music director on numerous Broadway shows, composed the work after her collaboration with Axelrod on Finding Neverland. “She’s brilliant,” said Axelrod. “And she knows how to get what she wants in a way that all her musicians feel respected. It’s such a rare blend.”
David Chase brings theatrical flair to Jump Scher(z), a piece that playfully mocks recital conventions — including the all-too-familiar chaos of turning pages mid-performance. “He was responding to my request that it not be a staid recital kind of [piece],” Axelrod explained.
Other works include Gary Adler’s For Harvey, a heartfelt tribute to his mentor Harvey Schmidt, composer of The Fantasticks; Joseph Church’s Oasis, a full-scale sonata inspired by quiet moments in Long Island nature during the pandemic; and Georgia Stitt’s Stitch, which uses the number five as a rhythmic and structural motif.
Click here for a full track listing and liner notes to Act One.
More Than a Recording
What sets Act One apart is its dual identity: it is both an album and a legacy project. Axelrod is working with composers to publish all six scores on Sheet Music Plus, a Hal Leonard company, making them accessible to teachers, students, and performers around the world.
“If it’s not all available yet, it will be,” she confirmed. “By the end of the summer, all [the pieces] will be publicly available.”
As for the future, Axelrod remains hopeful that these works will continue to inspire. “I’m hoping [they’ll be used] on juries and auditions. It’s fresh music… but it’s so welcoming.”
With its blend of lyricism, groove, and theatrical flair, Act One is more than a showcase of new music — it’s a testament to Janet Axelrod’s expressive, luminous playing and deep musicality. Her flute sings, soars, and dances through each piece with elegance and heart. Adding to the album’s intimacy and authenticity, nearly all of the piano parts are performed by the composers themselves, offering a rare and personal glimpse into their musical intentions — with the exception of Oasis by Joseph Church, beautifully rendered by pianist Elizabeth DeFelice. Whether you’re a flutist in search of fresh repertoire or a listener drawn to the meeting point of classical and theatre music, Act One is a vibrant, heartfelt recording that belongs in your collection!