Like everything in the past year or so, musical theater is in utter chaos. However, there’s a chance to meet some of the Tony Awards nominees in the different categories.
Lopez’s writing was an inspiration and information work, and it was important to me to coordinate the theater score with the design and staging.
With very few physical signposts telling us where and when the action takes place (actors often take more than one role), the score offers an important narrative tool that evokes a time, a place and a character at a certain time in life. For Inheritance, I wanted a simple, clear, emotionally direct sound that completes the sound palette that I could incorporate into the dialogue. The music is tuned to subtle electronic textures, but how did you record it?
British studio in Brighton, I recorded it in one day, with the help of a very talented sound designer and sound engineer. I was able to bring a small mobile set into the theatre to add, edit and write new music as best I could when the play came to life in the light.
How did music contribute to the mention of rose tattooing and what role did music play in the revival of rose tattooing? The music takes the form of accompanying singers from one to eight, who are interwoven into a metaphorical storm of sound and music, giving voice to a poetic dream world that keeps the pieces in place. The dialogue is underlined by the colour scheme in the air, which creates an atmosphere of longing, lust, sadness and compassion.
American minimalism and Cat Stevens, whose style influenced Jose Gonzalez’s playing, the approach to the songs and the setting came to me. The musical inspiration was a combination of the music of John Cage, John Lennon and George Harrison, but also the works of David Bowie, Robert Plant and John Coltrane touched me deeply.
Local 802 played the score live, but how did you orchestrate and perform the music for the show? I was inspired by one classical guitarist and I am very proud of the way I orchestrated and performed this music on this show.
So I hired a fantastic guitarist, Jonathan Linden, for a day and he learned to play overnight, and then we rehearsed and played the piece with live musicians. The musical storm signal you hear in the track was generated live that night, so we rehearse and perform the tracks with the live musician.
In a few days the musicians were able to reproduce the entire effect of the composition. Now we had to find exactly the right combination of guitar and pedals, rebuild live, use the recorded keywords and we have everything.
When you meet these selection criteria for the Tony Awards nominees, what do you think when you hear them? When you enter the theatre, it’s not just about the music that supports you, but there’s also a sense of community, a sense of connection with the audience that you’ve actually heard a few times.