I had one of those conversations with our composer Chris the other night. The kind of conversations that leave you more excited and energized that when you started. We are talking about new music for the updated Eurydice project. The cast is off looking for lyric ideas as we speak, which is pretty exciting.
While we were talking, he wanted to remember what he’d written last time, so pulled up some files. And then I heard him laughing and asking, “what did I do?” He starts describing the image of the end of the piece he’d written for when Eurydice dies.
“Imagine that there is a line that represents a note, and then another is added to it,” he begins.
And then something about him adding notes all over the place.
“It looks like an organ on its side,” he says.
For those of you who are like me and can’t picture it, here is the screenshot he sent me:
I’m going to say it: I think this is pretty cool. I think the fact that people like Chris and Adrian and countless others can “read” stuff like this is pretty cool too.
But, back to the show.
I am really excited that we are going to be adding some music sequences to this piece this time. We’ve bought ourselves some time but cutting the script down and tightening it, which is not always easy for me to do. And we are using the extra time to glue the piece together with music and movement sequences. One of our goals this round is to get back to the story, and this is one of the ways we are going to do that.
Mostly, though, everyone seems to like Chris’ work. Back when he, Nina, and I were working on our first Fringe show, Spill, everyone kept telling me how much they loved the music. In fact, when I was trying to write one of the final scenes, I took a piece he’d written, put it on repeat in iTunes, and listened to it over and over until I could write a scene to go with it. So we worked from the music to the script, and then to the movement – a pretty powerful process for me. And it is still one of my favorite scenes.
We will be sure to keep you updated.