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Subliminal Embedding
OK, if you have been following along here you may
understand why,
when Hugh and I set out to compose the music, the storyline was only subliminally
embedded in our consciousness at best.
We basically worked with just the length
and the desired mood needed for each scene,
and our memories of the choreography and costumes.
The basic musical themes for the play were created over
an intense period of maybe three days.
The dancers needed something to dance to.
Refinements and changes
feeding off of Corinna's criticism and changes in plot
happened over the next couple of weeks before the show.
It was a great deal unpaid of work,
but we had a lot of fun doing it.
This is the only photo I have of us
on the sidelines working our samplers.
We are bundled up fighting off the chill.
mic Corinna
and
Hugh (with a bone in his beard)
at the curtain call.
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