UPDATED: Composing for Theatre - Dracula...a variation

[catolliver]

Now that I am able to post more than one or two, here are excerpts from my latest project, Dracula...a variation. The play premieres at the Edinburgh Fringe Festival Aug 3 - 11, Edinburgh, Scotland, at The Zoo Theatre. Let me know what you think.

• Prologue - Renfield's Theme
• Harker's Lament
• Seduction and Rebirth of a Queen
• Atonement
• Frailty
• Tearing Down the Arras
• Flame, Smoke and Light
• Mina's Epilogue
• A Literal Purgatorio - Renfield's Epilogue

Thanks for listening,

Chris


christophertolliver.com

[Majesty]

Nice work. I enjoyed listening. The style and approach of the music seems very appropriate for theatre. Its almost film score like but on an intimate scale.

I'm assuming the Horn motif that appears in Harker's Lament has particular significance as it appears again a few times. Or is it just part of the idea of compositional variation?

Musically speaking, I didn't get a traditional sense of atonement in the "Atonement" movement. To me it almost seemed like violent anguish.

The whole work is appropriately moody for the subject matter. I'm sure it will add greatly to the theatrical presentation.

Enjoyed listening.

[ttw]

Nice. The pieces seem appropriate.

Composing for the legitimate theater (or theatre for those in Britain) is always fun. For composers wanting some local exposure, it's worthwhile to volunteer to compose some incidential music for the local Little Theater group (no money, but one can get good contacts.) I think most cities have at least one such group.

[catolliver]

Thank you guys for your comments and taking the time to listen.

I definitely get paid for my work, in fact there IS money to be had in theatre, you just have to know how to find it. This is very much a career for me and I make my living writing music for professional theatre. Yes, you are right, it is a good way to boost the old resume. However like any art, it is just that (to me) -- art. But, I am a rare breed of composer who actually wants to write ONLY for theatre and have spent many years working on my craft.

Music for theatre takes a great understanding of not only music and sound, but acting, directing, script-reading, dramaturg, lights, etc. All of these things have to be taken into consideration and adhered closely to when composing. It's a delicate balance.

There's a world of difference in music that is just slapped into a production and one that is tailored specifically to the production. My acting teacher used to say, "Most people can't recognize brilliant acting, but EVERYONE knows bad acting when they see it."...I think the same applies here. At its best, music and sound design go un-noticed, but completely effective in creating a symbiotic, cohesive, emotional product. At its worst, it can destroy the show.

Happy holidays!

-Chris

[LuboAstinov]

Nice work, I really liked your music.

I wonder what sound libraries did you use for the project? The solo Violin sounded really nice.

[catolliver]

Hey, glad you enjoyed it!

On this one I used solely East West Gold.

Thanks for listening,

Chris