David often works against the dramatic texture of scene: if the scene is already melancholy, then he finds a pulse or a key that counterpoints that to add to the audience's emotional journey. If the scene is frenetic, he finds an atmospheric cranking up of tension in a different time signature from the written text. In this way, he weaves a whole new thread into the fabric of the production. There are times when the sound acts as a partner to the actor: Frank Wedekind's spirit is often conjured up by the soundscape. Other times, Tilly's inner state is revealed. Some of the melodies that I have written for the cabaret songs are reconfigured in motifs within the music. Sound effects are given a life that renders them more than just a ticking clock or a tram screeching or a train bell clanging.
This is all very fortuitous, as David and I had not worked together before, but I just had an intuition about him as a person and a musician. I can't imagine what the play would be like now without his sophisticated and subtle score.
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