The gorgeous, haunting, original music by Gina Leishman was nearly through-composed, providing a musical counterpoint to the spoken text and occasionally took precedence, particularly during dance sequences.  Septimus and Clarissa was created in collaboration with the ensemble: Craig Baldwin, LeeAnn Hutchison, Paula McGonagle, Ellen McLaughlin, Tom Nellis, Henry Stram, Susan Pellegrino, Tommy Schrider and Miriam Silverman.  The transformative Scenic Design was by Susan Zeeman Rogers.  Oana Botez-Ban created the gorgeous period silk Costumes that moved with the actors.   The expressionistic Lighting Design by Keith Parham instilled each moment with emotional clarity.  Jane Shaw’s Sound Design exquisitely blended the original music with sounds of the day.  The integrated design of the show allowed the audience to fill their senses and let go; to ride the unpredictable and mutable path of the story.

Septimus And Clarissa - THE AIRPLANE

Rabbit Hole

Victor Frange Presents: Gas - Erik T. Lawson

Inspired by Fever Ray's self titled album, I used steel drums, marimbas, and tribal percussion throughout this score to set the stage for a haunting Caribbean magical adventure. I wanted the audience to hum the songs while leaving the theatre, to push the boundaries of "modern" music and melodies, and to make Ariel and the Goddesses sound haunting, beautiful, and sexy.  Moreover, I wanted to make this world rich with magic and ambient texture. Every enchanted moment of Ariel and Prospero were enhanced by sounds both musical and ethereal. Monsters followed Caliban and the drunks, while breaths of wind accompanied Ariel, whose voice echoed throughout the space.

USITT at PQ2015