Read: “My Love Letter to the Dream16 company”


So rare to read the composer’s point of view on a play! Makes even more hard to me to wait to see Dream2016 in May! I feel sorry for the amateur who literaly broke a leg, while I find amazing the digital lessons and that children can work so hard (but having much fun, I bet)! Great piece of writing below!

ogleforth

There is a special kind of grief reserved for composers. It’s the moment when your presence is no longer needed to make your music function. You can listen and give notes for ever, of course, but ultimately, the whole point of the exercise is to provide a score which is iterable, coach it until it resembles as closely as possible your ideal version, and then leave them to it. The deadline for scores in theatre is the Press night, at which point the vast majority of companies consider the show ‘frozen’, ie no substantive changes will be made thereafter.

Last week I was at Northern Stage in Newcastle with the RSC’s A Midsummer Night’s Dream – a Play for the Nation. I’ve been working on this show since April 2015. We’d already opened the show in Stratford-Upon-Avon, and there had, indeed, been a press night there, but the dimensions of…

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