Jekyll or Hyde (2008)
a movement-based theater piece
Play by Stephen Bradford Lewis
Music by John WV Maggi and Michael Oberhauser
Duration: 20:00
Instrumentation: 3 sopranos, flute, Bb clarinet, violin, cello, electronics, some vocals from actors
Setting: Various places around London
Play by Stephen Bradford Lewis
Music by John WV Maggi and Michael Oberhauser
Duration: 20:00
Instrumentation: 3 sopranos, flute, Bb clarinet, violin, cello, electronics, some vocals from actors
Setting: Various places around London
Notes
This was an interesting project. Put seven actors, a playwright, a dramaturg, two directors, and two composers in a room. Have them create one piece of theater. That piece of theater was to have been movement-based: movement tells the story more than words, so the music becomes incredibly important.
I was lucky to work with my good friend John Maggi on this project. Basically, this is how everything happened: We all discussed a story we’d like to tell. The playwright wrote a rough play. Each week, John and I would come in with music we’d written for a new scene. We’d all listen to it and talk about it, then the actors and directors would just go for it. They’d give us things they wanted to change. We’d go back to John’s apartment, make the necessary changes, and write next week’s scene.
When it came to the actual writing, John and I each composed themes, developed themes, and orchestrated everything, though I had a slightly heavier hand in composing and he had a slightly heavier hand in orchestrating. We used the playwright’s unspoken text to create many of the themes, like “pompous, condescending” and “The air is stuffier than a head cold.”
There are also certain scenes and sections of scenes that were particularly my babies or John’s babies. I’m not telling you which are which, though.
I was lucky to work with my good friend John Maggi on this project. Basically, this is how everything happened: We all discussed a story we’d like to tell. The playwright wrote a rough play. Each week, John and I would come in with music we’d written for a new scene. We’d all listen to it and talk about it, then the actors and directors would just go for it. They’d give us things they wanted to change. We’d go back to John’s apartment, make the necessary changes, and write next week’s scene.
When it came to the actual writing, John and I each composed themes, developed themes, and orchestrated everything, though I had a slightly heavier hand in composing and he had a slightly heavier hand in orchestrating. We used the playwright’s unspoken text to create many of the themes, like “pompous, condescending” and “The air is stuffier than a head cold.”
There are also certain scenes and sections of scenes that were particularly my babies or John’s babies. I’m not telling you which are which, though.
Premiere
May 6, 2008 - Callan Theater, Catholic University of America
Directors: Jay D. Brock and Ryan Whinnem
Cast: Matt Dewberry, Elizabeth France, Matt "Slice" Hicks, Rachel Holt, Brian MacDonald, Eli Sibley, Jimmy Whalen
Orchestra:
flute - Sophia Musleh
clarinet - Elena Forbes
violin - Leah Beshore
cello - Stamos Martin
sopranos - Laura Schwab, Hanna Guerra, Katie Bryson
