Jeff Britting Famous Quotes
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Each day, I read the New York Times before leaving for the theater. And I have this standing assignment: connect the world of Anthem to the late breaking events of the day.
If Anthem finds an audience in New York City, my hope would be to see the play transferred to a commercial theatre for an open-ended run.
In the original novel [ Anthem], the story unfolds in the mind of a single character. Maybe that's why Ayn Rand called the work a poem.
Basically, I composed the musical structure in one pass. The rest was editing and small adjustments. And when the play was read by actors with the music, the sequence timed-out perfectly.
I think a successful adaptation rises or falls on the work presented. If people need to read the book to understand the play, I didn't complete the job.
Music and text have several commonalities, and one is meter and rhythm. Both spoken word and music have certain regularities, and they can be sub-divided rhythmically.
Ayn Rand called her novella Anthem a "hymn to man's ego." My approach to Anthem the play was to provide the story a further dimension through music and sound. The work is now larger than a hymn. It's really "spoken opera."
After I write a sequence, I just open the script and then sit at the piano keyboard and "play" the script. (And because I also draw and paint, sometimes I sketch out the action as well.)
Who can I marry? Where can I live? What kind of career can I achieve? These are just some of the stories breaking with Anthem-like implications. And the ideas crushing the individual are all around us, chipping away at us constantly.
I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.
I always thought the story [Anthem] would work in three dimensions - and studying that cut material was very useful.
After each performance of an Austin Shakespeare production, audiences are invited to stay for a ten-minute discussion of the work. And this tradition continues in our New York run.
Sometimes, I stood at the front of the E train, watching the tunnel ahead, imagining what Anthem would look like on stage.
