There are a lot of questions concerning the Tony Awards. However, we still have a good chance to hear some of the contenders. Here are a couple of Tony Awards contenders!
How did you bring the music into the world of slave play and what do you want to create? What I wanted to create was a noise that could be heard on a plantation in the 19th century.
I heard a kind of salon piano piece that people played in their spare time. At the same time, someone in the main house talked to the workers who worked in the fields. The piece contains the sounds of everyone else working in these areas, the commands given by the men, and how it sounds outside.
For this reason, it is very important for the listener to listen to the music as a kind of musical representation of the hard work and the people in it. It is literally meant to bring you to that place and time, but it also means a lot of talk about how to escape all of that – work that others experience.
Work in development
How did you develop the work during the production process and how did it develop from there? Slave Play came to us after the previous designer couldn’t produce anymore, so I joined in.
When I first saw the play, I was immediately excited, and the show evolved from that idea into a show. I created the entire score and sound design in a few days because I was able to work on it in real-time, so I was immediately excited.
I couldn’t have been more supportive and cooperative throughout the process and I am so grateful for all the support and support from the cast and crew and producers.
Every day I was challenged to find as many pieces and elements as possible for each piece and every day I had to refine and refine the music and sound during rehearsals. When viewers hear this selection on the show, they will be amazed at how deeply and deeply I know these plays.
I wanted the score to contain a space of elementary fragility, solitude, and devotion. Each piece of music reaches a climax and supports the story of a young man standing alone in a snowy field.
I wanted to make sure that every piece of music carries this space with it without telegraphing too much emotion because the aesthetics of the pieces are very quiet and sensitive. The play is about a surprisingly intimate relationship between a teacher and a student that feels dangerous, surprising, and metaphysical. Both teachers and students are concerned with the consequences of the relationship they want to deal with.
I actually orchestrated the piece a few times and then searched for the right side of the voices and ensembles. With the piano and string quartet of the fabulous Momenta Quartet, with whom I have often been able to work, everything came to an end. I wrote it for piano, but I’m really proud of the way the music was orchestrated and performed.
These would be some unusual Tony’s, but these Tony Awards contenders are of the usual high standard of Broadway!