“There are darknesses in life and there are lights; you are one of the lights.”
To show what cannot be said. To honor the epistolary novel without becoming an endless voiceover;
To hear what cannot be voiced;
To move in ways that reveal what thought tries to hide.
In this sense, movement and music are not additions to a non-musical;
they are the lifeblood of the piece.
The story requires them.
The stage demands them.
And the audience should feel them long after leaving the theater — an unforgettable heartbeat.​
MUSIC & MOVEMENT
"
Listen to them the children of night, what beautiful sounds they make.
"
MUSIC
is not decoration here; it is evocation. Since music speaks to the soul, the dialogue had to be musical and rhythmic. Scenes that could tend to drag were given rhythmic action to keep the action from waning. Music can be found in natural sounds, footsteps, swords clashing, etc. The music should create a soundscape that grabs the audience into the world of the piece and demands they take the journey.
The Requiem motif emerged from Lucy's death and became a defining metaphor for the story. From the beginning, music was meant to be the emotional heart of the piece, classical, goth or metal. It helped define and refine the piece while framing it in a quasi-religious tone. Once you have music, movement just screams to be the adjunct. This need not be dance, just cued and defined by the music, allowing for the body to reflect the mental journey.
"I have always heard in pictures and seen in music." -- Gary Hall
​In a piece designed as a phantasmagoria, movement and music are the invisible architecture.
The goal is simple:
To turn the entire stage into a living, breathing metaphor.
MOVEMENT
Navigating from real world to a dream world or from the physical to the psychological is not a smooth transition in reality or in dreams, where movement is frequently disparate or synchronous in any way. Movement is a mirror to the mind. It need not be dance, it can just be disconnected or incongruous.
