RICL 348 - Philip Venables - 4.48 psychosis

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Philip Venables

4.48 PSYCHOSIS al

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a chamber opera in one act after Sarah Kane

FULL SCORE

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2016

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Written and produced during the Royal Opera House and Guildhall School of Music & Drama Doctoral Composer-in-Residence Scheme 2013–2016, with generous support from the RVW Trust.

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The complete text is available in Sarah Kane 4.48 Psychosis (Methuen Drama, 2000), and should be acquired as a companion to this score.

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Thanks to:

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Simon Kane Ted Huffman and Richard Baker, the cast, the creative team, the crew. John Fulljames, Kasper Holten, Sarah Crabtree, Rachel Lerman – Royal Opera Sean Holmes, Tracey Woolley, Jet Sharp, Nick Manning – Lyric Theatre Julian Philips, Armin Zanner, James Weeks, Jo Hensel, Christian Burgess, Cormac Newark, Richard Baker, Dominic Wheeler, Andy Taylor – Guildhall School of Music & Drama and: Joanne McInnes, Mel Kenyon, Cathy Nelson, Mark Ravenhill, Alistair Duncan, Ben Marnitz, Cristina Delgado-Garcia, Gareth Llŷr Evans, Meritxell Canela, Matthias Engler, Dr. Rick Adams, Neil Bartlett, Katie Mitchell, Claire Shovelton, Chris & Geoff Venables.

© Copyright 2017 G. Ricordi & Co. Ltd, London All rights reserved - Tutti i diritti riservati Printed in Italy RICL 348 ISMN 979-0-57002-000-_


Duration

c.90 mins with no interval

Cast

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GWEN – soprano JEN – soprano SUZY – soprano CLARE – mezzo soprano EMILY – mezzo soprano LUCY – mezzo soprano

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PERCUSSION (PATIENT) – percussionist (see below) PERCUSSION (DOCTOR) – percussionist (see below) VIOLA in Scene 24 (see below).

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The CAST should all be dressed in similar / identical clothes. There should be no distinction between GWEN and the others.

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It is very important that both PERCUSSIONISTS and the VIOLA player are female and dressed the same as the CAST.

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These names are the names of the original cast members who took these roles, but the naming in no way indicates distinct character-narrative roles and should not be used formally with relation to the opera.

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Instrumentation

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Twelve players: Alto Flute doubling Piccolo Soprano saxophone, doubling baritone saxophone (audience left) Soprano saxophone, doubling baritone saxophone (centre) Soprano saxophone, doubling baritone saxophone (audience right) Piano doubling Synthesizer, with organ pedalboard, volume pedal, sustain pedal, programme change pedal. Accordion Percussion (Doctor, audience left) – solo role, some playing from memory (see above)* Percussion (Patient, audience right) – solo role, some playing from memory (see above)* Viola (audience left)* Violin doubling Viola (centre) Viola (audience right) Contrabass with C extension.

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Left / centre / right indications are only advisory if the musicians are spatialised. Left and Right positions are obligatory for the two solo percussionists during scenes 1, 6, 10, 12 and 23. *Also listed in CAST (see above)

Percussion

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LEFT SOLO STATION (DOCTOR) Large Bass Drum, mounted horizontally (can be moved from Shared Station during scene 22). Counter-top Bell Sports referee whistle (held in mouth) Metal scaffolding pole, mounted vertically, played with two metal-headed hammers. Toy Drum or Military Side Drum, slung on the body Block of thick wood mounted in Sawhorse, pre-cut with grooves and sawn with long wood saw. Hi-Striker

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RIGHT SOLO STATION (PATIENT) Large Bass Drum, mounted horizontally Counter-top Bell. Sports referee whistle (held in mouth) Hi-Striker

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All the roles are ensemble roles, but Gwen has more solo material than the others and represents the Patient for the most part.

SHARED STATION Large Tam-Tam Large Bass Drum (can be moved to Left solo station during scene 22) Five suspended cymbals: splash, small medium suspended, large suspended, chinese cymbal. Removable sizzle chain on one. 32” Timp, pedal. Loose chinese cymbal to go on timp. Tubular Bells with lock-down pedal. Air Raid Siren (manual is nice, but electronic will give more control over the decay in Scene 16). 2 Whips Triangle Swannee Whistle Military Snare Drum Glockenspiel Toy Piano Chinese Water Cymbal

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Notes

Score is at transposing pitch.

Bar numbers restart at 1 with each scene.

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The Elevator Muzak must not be omitted in Scenes 6, 10, 12.

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Vocal Performance Notes

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Gasping (Scenes 2, 7, 13, 15) The desired effect is that of having run a 400-metre sprint or having been submerged underwater to the point of almost drowning. Surface, struggle to catch your breath, pant and gasp violently... You are trying to get words out but you cannot. Gradually the gasping rhythm becomes steadier and slows, and you manage to get words out, and these form into a sentence that you are trying to speak, as you get your breath back. These passages should be incredibly violent.

For the group gasping, this should begin for each performer as described above, and then gradually the ensemble should fall into a common rhythm as they get words out, as a single entity.

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This can be done live or pre-recorded. If live, the amplification on the voices must be such that the gasping starts very loudly and uncomfortably close, surrounding the audience in the whole auditorium, and then reduce down to a natural, localised sound on stage. If pre-recorded, the pre-recorded version should merge seamlessly with the live performance such that we think it has all been done live, in some way. The physicality of the performer should match the recording. The performer should then be careful to begin to form words in complete sync with the recorded gasping, as it slows and steadies and fades – words form on exhalations. Performer and recording should be in absolute sync, and this will take some practice, like learning a lip-sync.

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Pre-recordings should be done with the appropriate cast members for each passage. Some are more violent (e.g. Scene 2) than others (e.g. Scene 7). Some scenes may be done live and some pre-recorded too, in a mix-n-match.

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Breathing passages The passages of gentle breathing (e.g. Scene 5 opening) should be relaxed, like mindfulness or meditation breathing. To the audience, they should sound quite close; i.e. close-mic’ed, intimate, perhaps claustrophobic.

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The singer should always practice with the recording, so that the breathing and phrasing of the live sung lines is in absolute sync with the recording. We need to believe that they are one.

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Parlando & spoken text There is much parlando or spoken text in the score, e.g. Scenes 3, 9, 15, 22. Vowels and enunciation should be clear but not ‘sung’. This should sound like normal speech. Where pitches are indicated (e.g. Scene 22), go for a natural speaking sound with slightly more support behind the pitch. It is vital that the spoken text is not hammed up, or ‘acted’. Speak simply and clearly; the delivery need not be ‘emotional’. Dead pan is best.

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For example, don’t be tempted to ham up jokes. e.g. Scene 3 bar 47 “I have become so depressed by the fact of my mortality that I have decided to commit suicide”. Keep it very wry and laconic.

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Stutters are indicated with a repeated first letter. e.g. f-f-f-f-faces. Do them as quickly as possible, and evenly, but with clarity to each one. They should be mechanical.

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Gagging Several places require for the mouth to be closed or obstructed. This can be done in a variety of ways – sometimes just with the hand over the mouth, perhaps hand clasped over mouth in horror. However, other places call for more violent approaches administered by other performers: smothering with a pillow, a gag inserted in the mouth, submersion in a bucket of water, strangling, a fist in the mouth, a mouthful of blood, gaffer tape over the mouth, etc. Be creative, be brutal.

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Glissandi gestures There are many falling, ‘sighing’ glissandi gestures in the opera. These especially follow moments of gasping, for example Scene 2 (Gwen), Scene 7 (Gwen), Scene 15. These should be very organic and smooth, we should not hear the semitone fall, but merely a sliding, falling pitch with a sharp crescendo and diminuendo. They should like exhalations, utterances – and, crucially, a single note rather than two notes.

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Wherever they occur, glissandi should be even and smooth, and for the entire duration of the note indicated. They are not quick portamenti.

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The Elevator Muzak must be playing in the auditorium while the audience enters. This must not be omitted (unless substituted as described in Staging Notes).

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All scenes must be performed attacca to one another. Where pauses are permitted, these are indicated at the start or end of scenes. There must be no silence between scenes.

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Rehearsal letters are Scene Number/Letter.

Percussion

Tubular Bells – generally always let ring. Use a set that can lock the pedal down. The felt-hard dual-sided mallets are best. Use felt covered mallets for most scenes except scene 3 which should be hard mallet. Soft sticks (rubber or yarn) are required in some passages, using three or four sticks at once. The set is to be shared, and must be played together in some scenes (e.g. Scene 3). Hi-Strikers – if these are not available, seek some alternative that has a similar dramaturgical effect. It could be hitting large quiz buttons, that also perhaps light up red or green and make the appropriate quiz noises (that must be audible over the band).

Scenes 1, 6, 10, 12 and 23: you are playing with dialogue text that appears projected onto the set as you play. These scenes must be played from memory, played with in-ear click (use the ear not visible to the audience). It is possible to record audio memory aides onto the click tracks. Face each other, across the stage; it should be adversarial. Play into the natural rhythm of the speech, especially concerning inflection and volume. Don’t ham it up, but don’t be wooden. If the set allows, the Bass Drum can be moved from Left Solo Station to the orchestral station after Scene 1, and back to Left Solo Station in Scene 22, ready for Scene 23, thereby requiring only 2 drums rather than 3. If the PERCUSSIONISTS share a drum in Scene 23, only two drums will be required and moving in Scene 22 will not be required.

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Pedals required: MIDI Organ Pedal Board Volume control pedal Sustain pedal Programme change switch pedal.

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A real piano should be used for the piano parts.

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Sometimes the Synth needs to be amplified more prominently in the auditorium, rather than just blended with the ensemble. These places are indicated with the PA marking in the score.

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Pre-recorded material

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You may choose to pre-record the spoken material for GWEN with an actor who can properly scream and shout when required. One would want to find a voiceover actor who has a similar vocal quality to the singer playing GWEN, for the few times when GWEN delivers live spoken text. The audience must believe that all the pre-recorded voiceover belongs to the person playing GWEN.

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“Tape treatment” on spoken voice recordings in scenes 2, 3, 5, 7, 11, 14, 15, 16, 18, 24. This usually means a cassette player button ‘click’ on and off, a low cut and high cut applied on EQ and perhaps a little crackle distortion added. These recordings should all be dispersed through the On Stage Speaker.

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“Vinyl treatment” should be used for the Bach song fragments in scene 17. The slowing down of the vinyl in Fragment C should sound authentic: gradual pitch shift, becoming exponentially more pronounced to a complete stop.

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Tape

Tape cue notes in score only indicate the beginning of a cue, not the duration. Each cue should play for the length of the sample.

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Where no cue number is given, the cues are either automatically linked as follow-ons in QLab, or aligned on the click track. They should not be cued manually.

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Muzak in Scenes 1, 6, 10, 12: Elevator muzak, or drivetime radio, trashy pop songs about love, etc. Keep it consistent between scenes 6, 10 and 12. It should be barely audible from the Stage Speaker, as if coming from the next room, like muzak in a Doctor’s waiting room. Appropriate Elevator Muzak tracks are available on request, which are library tracks of synthesised, instrumental, gentle bossa nova tracks.

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The bass drones should all sound spacious and relatively discreet, with the exception of Scene 23 where it becomes obnoxious. Something with some noise, not too clean, and a little reverb in the mids – we should feel like we are standing in a huge warehouse, or cathedral.

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See a complete cue list below.

Click Tracks

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Click track feeds must go to the conductor and each percussionist. They are all triggered by the DSM in the cue stack. Click tracks are available upon request.

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Click tracks in scenes 1, 6, 10, 12 and 23 should be played to the percussionists in-ear and wirelessly, and ideally with a different output to each player, so that they have the opportunity to add aural memory aid notes to their own click tracks.

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Pedal-board Patches: Sine Wave – very clean bass sound. Used as default. Pipe Organ pedal notes. Avoid too many upper harmonics; we want to hear the fundamental as much as possible (in the sub speakers).

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The following patches are required: Philip Glass Organ – the kind used in many of his ensemble works: reedy, unobtrusive. “PG Organ” Hammond Organ – remove vibrato and avoid harmonic beating as much as possible. Pipe Organ – the sound of a gigantic cathedral organ, filling the space. Epic. Clavinova / Vibraphone / Electric Piano – something that sounds a little bell-like, piano like, synthetic. This should have a natural sustain and decay, like bells. Harpsichord – as realistic as possible. Synth String & Bell (Scene 3), natural decay over c. 6 seconds. Warm, supportive, blending. Barrel Organ (Scene 9) – a real fairground sound, a bit out of tune, nasty-sounding. This can be programmed with punchroll on a real barrel organ if desired.

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Synthesizer

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Amplification

All singers and instrumentalists are to have individual microphones and be amplified. Singers’ microphones should not be visible.

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The sound dispersion is as follows: • On Stage Speaker (central) this must not be omitted • Stereo L&R in the auditorium with centre and rear fills. The rear fills should be isolated for separate cue tracks for the Scene 5 tap collage, i.e. as surround sound. • Subwoofers Singers will require monitors on stage or in-ear monitors.

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The intended sound dispersion effect for the audience is given in the individual scene notes

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Noticeable reverb should be added to some voices and instruments in particular scenes. Details are given in the individual scene notes.

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The following scenes should all amplify the instrumental band heavily, with some compression, a close, tight sound – A Michael Nyman Band kind of sound. Scene 4, Scene 5 (fast section), first four bars of Scene 7, Scene 8, Scene 13, Scene 14, the loud bursts of Scene 15 (CUT HERE; DON’T LET THIS KILL ME..), Scene 16, Scene 19, Scene 20.

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Sometimes the Synth part needs to be amplified more prominently in the hall, rather than just blended with the ensemble. These places are indicated with the PA marking in the score. For the rest of the time, the synth should be blended into the ensemble mix.

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Projection

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A projector is required to project text onto the set. Three projection areas are required, left, centre and right, indicated by a threeline stave in the score. A simple font should be used. Projection video files in english are available on request, with accompanying click tracks.

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The centre projection area (Scenes 4, 8, 14, 20) should be at the front of stage, maybe on a gauze over the whole proscenium. The text must fill the stage and the audience’s visual field. Projection in these scenes is tightly synchronised with the music by click track.

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Projection in Scenes 6, 10, 12 and 23 happens on the left and right areas. Words appear projected on to the set, in the vicinity of each percussion player (audience left DOCTOR and audience right PATIENT), synced with the rhythm of speech played by PERCUSSIONISTS. The projection line in the score indicates how words are to be broken up and the rhythm in which they should be projected. This will be laid down as a video track for each scene, synced to the click track heard by each percussionist and triggered with the click cue by the DSM before each scene. The font chosen for this should be quite simple, and in line with projection in the rest of the opera. No fades should be used in or out – the text should simply appear, and disappear, like a surtitle. For reference, look at the published play text of 4.48 Psychosis; do not correct things that appears to be mistakes, the published text is definitive (e.g. ‘side affects’, Scene 14). Extra punctuation, or changes in typeface, bold, italics, etc, should not be added, since these are not approved by the Kane Estate.

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The [blank] indications mean the screen should be cleared of text. These should be obeyed. More frequent screen clearings are possible, and welcome, depending on whether your production would like to build up streams of conversations, or present things on a line-by-line basis, like the first production. If clearing the screen more frequently, use common sense where this affects the effect and meaning of the lines. For example:

(Scene 6)

I won’t be able to think I won’t be able to work

(Scene 12)

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You are not eighty years old. Are you? Are you? Or are you?

should be clear as the insistent repetition of a line. Similarly:

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should also be clear as the repetition of a line with a single change of word.

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Other projections, including those in 1, 16 (if used) and 24 can be done as you wish, and projected wherever.

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String microphones should be close (i.e. clip-ons) to get maximum control.

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Additional microphones in the band will be required for: • Toy Piano (contact mic) • Block of wood / saw (contact mic) • Vocal mics with pop shields for Strings and Saxophones (Scene 17, end of Scene 15)


Staging notes

Some staging conceits are necessary, musically. For example, the lonely singing and playing of a song on a Casio keyboard in Scene 11, the Television in Scene 15 (which we hear), and the cassette recorder at the end (as well as the aural references to cassette recorders throughout). However, of these only the TV must actually be present as an object on stage. The Casio part may be pre-recorded, although the dramatic conceit must still be clear; it is preferable to be done live.

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Scenes 1, 6, 10, 12 and 23 must have the PERCUSSIONISTS and their instruments for those scenes visible and lit. They are agents in the drama just like the singers, and should not be ignored. Please engage theatrically with these scenes as much as with the rest. Likewise the Hi-Strikers (or substitute) must be visible and lit in Scenes 4 and 20 (optionally Scene 8). Likewise the Tam-Tam should be visible in Scene 21 and the Viola at the end of Scene 24..

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Musicians can be staged on stage or dispersed in the auditorium in some scenes if desired.

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The instructions for gagging are musically required, and should tie in with staging. See the note about this under Vocal Performance Notes. Be creative, be brutal.

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The onstage speaker must not be omitted. Whether it is made a design feature is up to you, but I would suggest so, since so much of the piece is about recorded cassette machine messages.

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Various themes come up in this opera and would make good starting points for the design process and the rehearsal room process. • Recorded messages and cassette recorders. • Water, drowning, being submerged • The border between reality and the inner (fantasy/memory) world • Breathing, gasping, suffocating, being able to speak, or not. • Time

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An original idea for Preshow/Scene 1 was many (digital) alarm clocks that gradually sound their alarms one by one (perhaps all coinciding on 4.48am), building to a cacophony by the end of Scene 1. The preshow muzak could be substituted with one alarm clock sounding, followed by others in Scene 1 – at least 40 alarm clocks in total, cutting abruptly to silence in Scene 2.

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Cuts

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Significant cuts to the text are not permitted by the Kane Estate.

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However, there are a few cuts that can be made: 1. The bars 1, 12 and/or 16 in Scene 2. 2. Bars 43 to 68 in Scene 7. 3. The passage “I thought it went silent til it went silent. How have you inspired this pain?” in Scene 24 can be cut and replaced with a simple spoken theatre delivery of the text. See the ossia description in the score.

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Surtitles

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If surtitles are used, not all scenes should be surtitled. The only scenes that should use surtitles are scenes 2, 3, 7, 9, 11, 13, 15, 17, 19, 21, 22, 24. If additional projected text is desired in scenes 5, 14, 16, 18 or 19, this should be projected onto the set and curated as part of the video design, not put in the surtitles.

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If surtitles are projected onto the set, which is not recommended, then they should be distinctly different in style and separate from the projected text that is required in scenes 1, 4, 6, 8, 10, 12, 20, 23.

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Foreign-language versions

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Please contact the composer or publisher for information about foreign-language versions. Much of the text must be delivered in the native language of the audience. Scenes 1, 5, 6, 10, 12, 14, 23 will require particular attention and re-scoring.

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Scene Notes Preshow/Scene 1

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The Tape part in Scene 1 should emerge seamlessly out of the Elevator Muzak played during house open through the onstage speaker. Alternatively, the muzak could be played through the House PA if a more immersive experience is desired. The Tape should use fragments of muzak, pop songs, vocal sounds, drivetime radio, whispered text from Scene 1 (“But you have friends, etc”), perhaps with the sounds of being submerged underwater, drowning, appropriate EQ filtering for that, etc. This should build into a deafening cacophony of sound rising to a climax with the final “What do you offer?”. The audience should be completely immersed and terrified; it is a terrible dream.

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The PERCUSSIONIST (Doctor) should be somewhere on stage and visible to the audience, dressed as the rest of the cast. She should play from memory.

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This scene is on a click track.

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An early idea for Preshow/Scene 1 was many (digital) alarm clocks that gradually sound their alarms one by one (perhaps all coinciding on 4.48am), building to a cacophony by the end of Scene 1. The preshow muzak could be substituted with one alarm clock sounding, followed by others in Scene 1 – at least 40 alarm clocks in total, cutting abruptly to silence in Scene 2.

Scene 2

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JEN, SUZY, CLARE, EMILY should be in the stalls in seats waiting for the entries in Scene 3.

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The cassette recorder texts can come from the on-stage speaker, or from a real cassette recorder on stage.

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The pre-recorded sound cues should have tape button on and off sounds at beginning and end, and be treated to sound like a cassette recorder.

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The gasping can be done live or pre-recorded. See Vocal Performance Notes above for more instructions about that.

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The held notes for JEN, SUZY, CLARE, EMILY can be done live off stage, live from the stalls, or pre-recorded, depending on the staging. If JEN, SUZY, CLARE, EMILY are in the stalls waiting for the entries in Scene 3, then these chords should be done prerecorded.

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LUCY may be on stage, off stage, in the theatre somewhere (e.g. from a balcony, across the theatre to GWEN, distant).

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Bars 1, 12 and/or 16 may be cut. If cut, do not leave a gap.

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Some reverb may be added to GWEN in this scene, to emphasise her loneliness. Likewise LUCY.

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This scene should not be conducted, and performed by GWEN completely freely.

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Scene 3

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The pre-recorded sound cues should have tape button on and off sounds at beginning and end, and be treated to sound like a cassette recorder.

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Scene 4

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JEN, SUZY, CLARE, EMILY stand from the stalls on their entries and make their way to the stage.

This scene is on a click track.

This scene is an opportunity for Blackout / Scene Change

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The HI-STRIKERs should be visible to the audience and lit. Hitting them should be an aggressive over-arm action. One should be set to always fail, the other to always win. The Quiz Show sounds of incorrect buzzer and correct bell should be loud and clearly audible over the band. The BAND should be loud, amplified heavily, slightly compressed. A Michael Nyman Band kind of sound.

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Projection should be huge, and close to the audience, against a dark stage (just the Hi-Strikers lit). (see Projection Notes)

Scene 5

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GWEN’s breathing can be pre-recorded or live. It should be relaxed, calm, like meditation/mindfulness breathing.

The first section of this scene should not be conducted, to two bars before 5E, except for the piano/bass cue at 5C. The pre-recorded sound cues should be treated to sound like a cassette recorder.

Moderate reverb applied to instruments and GWEN. The breathing should continue seamlessly through to 5D.

From 5E onwards, the BAND should be loud, amplified heavily, slightly compressed. A Michael Nyman Band kind of sound. The scene from 5E onwards is on a click track.

The Tape collage for this scene from 5E onwards must be loud, immersive, and use the stuttering / scratching techniques of artists like The Avalanches. The text coordination is given in the cue parts in the score, but clearly there is space for a lot of creativity in making these tape parts. They should use recordings from the cast. Inspiration can be gained from the tape parts from the first production, available on request. EQ, reverb, distortion, compression and panning can all be used to add texture to the collage. It should feel like angry, shouting voices are coming at the audience from all angles. One cast member should record all of the solo voice cues. The sung choruses at 5J, 5N, 5P can be done live or pre-recorded.

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Scene 6

First four bars should sound loud, amplified heavily, slightly compressed. A Michael Nyman Band kind of sound. The BAND including Pipe Organ should be mixed into the PA in the auditorium (surround).

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After that, a natural sound should resume, with a little reverb.

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Scene 7

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PERCUSSIONISTS must play from memory.

The drone should slide down gradually from G to E by figure 7I, “I shall not speak again”. Timings need not be accurate. A drone based on a distorted double bass sample might be appropriate.

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Percussion Ossia in first four bars: a single loud hit on the downbeat of Scene 7 (i.e. omit the roll and note in bar 5).

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The pre-recorded sound cues should have tape button on and off sounds at beginning and end, and be treated to sound like a cassette recorder.

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There is an optional cut in this Scene between bars 43 to 68.

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The breathing/gasping in this scene should be gentler and quicker than in Scene 2, and should retain a natural, localised sound (not surround the audience).

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Scene 8

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This scene is an opportunity for Blackout / Scene Change

The BAND should be loud, amplified heavily, slightly compressed. A Michael Nyman Band kind of sound.

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The HI-STRIKERS in this scene are optional if positioning does not make it possible to reach them in the short gap at the end of Scene 7.

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Projection should be huge, and close to the audience, against a dark stage (just the Hi-Strikers lit).

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Scene 9

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The CAST should be all together – they embody both one character/body and each other’s lovers. It is like fantasy and masturbation. This is a twisted sex scene, pillow talk that takes a wrong turn. The staging must be close, intimate, lots of body contact, physical – they are one, writhing body.

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The scene is told in a series of tableaux, punctuated by short blackouts The blackouts are of various, measured lengths, and are delineated by static sound and a click sound at the beginning and end of each blackout. Beeps, definition, crackles, pop songs or other things may be substituted for these blackouts, as desired. It must be a sharp contrast to the music, as if changing a TV or Radio channel. Lights and Sound must be triggered together for these blackouts.

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One voice in each passage is amplified higher than the others, to bring out their speech. The CAST and the Sound Designer must work hard in this scene to make the spoken text as clear and audible as possible.

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The vocal fry onsets are best illustrated by pop singers such as Britney Spears, Christina Aguilera. It’s a sexy, vocal fry ‘croak’ on the onset of the vowel. They should be as loud and emphasised as possible. Never too much.

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The Barrel Organ music at the end of the scene can be punched into a real Barrel Organ if desired. Alternatively it can be played on synth. The suffocation of SUZY at 9K should not be omitted. It can be done in a variety of ways, but it should look and sound uncomfortable and unpleasant.

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Scene 10

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This scene is on a click track.

Same lighting, staging and situation as Scene 6.

The Toy Drum or Marching Drum should be strapped to the performer. They may want to move around, for example to go and examine the bandage. If a proper marching drum is used, it should be made to look like a toy (a proper drum will give a better sound and better projection). PERCUSSIONIST (PATIENT) should be wearing a bloody bandage on one arm. PERCUSSIONISTS must play from memory.

Scene 11

The Casio keyboard part can be played live (ideally) or pre-recorded. If pre-recorded, it should have tape start and stop button noises added at the beginning (with appropriate lead in time for the tape spool between button sound and music) and at the end on ‘Breakdown’, and be treated to sound like a casio part on a cassette recorder. The BAND should consume CLARE’s song with sound by the end of the scene.

If the speech “In ten years time” is pre-recorded, the cue should have tape button on and off sounds at beginning and end, and be treated to sound like a cassette recorder.

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Both PERCUSSIONISTS come on stage during the end of Scene 5 to their respective instruments, left and right. They should be in position by the end of Scene 5. PERCUSSION LEFT is the DOCTOR. PERCUSSION RIGHT is the PATIENT – they should be in the same costumes as the CAST. The projection screen for each is directly next to each player (above or below). Lighting is dim. The Orchestra Pit and music stand lights should be DARK, and the conductor also not lit. Scene is played from click track, synced with projections. The conductor must not participate.

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This scene is on a click track.


Scene 12

This scene is on a click track.

Same lighting, staging and situation as Scene 6.

The wood (and drum) should be amplified with a contact microphone to pick up the sawing. The Counter-Top Bell should be mounted on the sawhorse or bass drum with easy access to both players (if attached to the drum)

al

PERCUSSIONISTS must play from memory.

ru s

The water sounds in Scene 12 and 13 are optional. EMILY’s entry in bar 78 is optional.

pe

Scene 13

/F

or

The optional sounds of rushing water/waves from the previous scene can be continued in this scene. If included in Scene 12 they must continue in Scene 13. The whole scene is about drowning, and the waves must sound terrifying, and eventually engulf the ensemble.

rv

ed

“Underwater” frequency filters may be applied to the instruments and EMILY from the beginning, and the other voices later, ad lib.. The frequency spectrum can expand exponentially to normal in bar 13, as if surfacing from a depth. This submersion can happen repeatedly, between figures 13B to 13C, and figure 13E to bar 71, where the final surfacing, and gasping (survival) happens. The music should sound like terrifying waves. The sounds of waves can engulf the CAST and the BAND, they should be completely consumed by noise just before bar 71. The final passage should sound like dripping in a cavernous space.

se

SAXES, ACCORDION, SYNTH and STRINGS should be balanced against each other equally, so the chords emerge and disappear to give a continuous wall of sound. Some compression should also be applied.

ll r

This scene should appear the same as Scene 4, 8 and 20.

ig

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The gasping at the bar 71 should be very violent, as if the CAST were on the verge of death underwater and are fighting for life. The decay / catching of breath can take some time, and “still ill” can also take time, with some extemporisation. Like in Scene 2, the sound of the gasping should surround the audience and then merge into a natural, localised sound. If pre-recorded, some rehearsal will be required to allow the CAST to practice physical and vocal movements exactly in time with the inhale-exhale rhythm of the recording.

Scene 14

/A

This scene is on a click track.

This scene is an opportunity for Blackout / Scene Change.

The BAND should be loud, amplified heavily, slightly compressed. A Michael Nyman Band kind of sound.

nd o

n

The organ at the beginning should fill the auditorium.

Projection should be huge, and close to the audience, against a dark stage (just the Hi-Strikers lit).

di

Lo

The text may be recorded as a voiceover by a member of the cast. In this case, the recording should be cut into the same fragments as the projection and aligned with it on the click.

Scene 15

R ic or

A television (CRT variety) is somewhere on stage, and is turned on at the beginning of this scene where indicated. The sound should come from the television, not from the amplification in the hall. It should not be very loud, just going in the background. The sound should be muffled, unclear, but off an audience talk-show, like Jerry Springer or Jeremy Kyle. Voices more than music. The flickering of the TV should light the scene. There should be very little other light. GWEN’s part in this scene is quite improvised, based on fragments given at the beginning. This scene is flexible, using the optional pauses, to allow for staging decisions.

by

Some light reverb should be applied to voices to make them sound lonely. The BAND should sound natural and resonant. The Synthesizer and Bell chords should be prominent. Heavy amplification of the bass will be needed in places.

yr ig

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SUZY, EMILY and CLARE should be very sotto voce. Nervous voices in the dark. SUZY and EMILY are a duet pair.

C op

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The block of wood can either be on its own at Percussion Left station, or it can be attached to the PERCUSSIONIST (PATIENT)’s Bass Drum, so that it appears to the audience that PERCUSSIONIST (DOCTOR) is sawing into the drum.

ly

PERC (PATIENT) has no bandage on now.

The nursery rhyme should be sung with an ‘untrained’ voice; no vibrato, clean tongue, everyday elocution. It should sound very innocent, like a little girl singing privately. The vocal fragments at 15F likewise should be very parlando. Almost spoken, muttered to oneself, privately.

Pre-recorded text in bar 66 “CUT HERE” and in bars 71–73 should be very loud, very angry, shouted, desperate, with the whole cast. It should surround the audience. These two passages can suddenly up the amplification of the band to the compressed, tight sound heard in Scenes 4, 8, 14. The choking noises should sound real, and close, and be recorded by voice – especially if the staging mimics someone being choked.

The gasping at 15H should be the same cast member who recorded the choking. The dramaturgy is: that person is strangled / chokes, and then gasps for air on release at 15H, calms down/catches breath and then eventually gets the words out “I thought I should never speak again”.

The BAND may join in with the whispered chorus at figure 15I, using their vocal mics that are set up for Scene 17. Reverb should be applied to the whispered voices, and they should balance with the solo singer. The TV sound should be turned off to coincide with the destruction, or, if the TV destruction is not included in the staging, whenever a cast member turns off the TV on stage.

X


Scene 16

Towards the end of Scene 15, LUCY may shackle up the other CAST members. If so, then this should be completed by Scene 16, with the CAST in some kind of restraint or control. They struggle to break free.

ru s

This scene is a religious scene, in relative darkness, as if by candlelight – we should feel like we are in a foreboding cathedral / in the presence of Illuminati, or God. Incense burns: an apocalyptic religious vision or funeral – perhaps it is the patient’s own funeral.

pe

SUZY plays a preacher / clergywoman / angel of death.

or

JEN, CLARE, EMILY and LUCY and the voices of SAXOPHONES and STRINGS play the congregation / a chorus. These voices should be closely amplified using additional microphones for the BAND. Lots of reverb should be applied to all voices and instruments. Cathedral-like.

/F

OPTIONAL: SUZY has pitch shift applied to the voice, -4 and -7 semitones, to be mixed 60-70% with the original vocals CLARE and LUCY have pitch shift applied to the voice, -12 semitones, to be mixed 100% with the original vocals

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GWEN’s fragments of Bach Agnus Dei should be pre-recorded, possibly as if coming from an old Gramophone vinyl. The recordings should be warped to sound like vinyl – with crackles and pops, slightly uneven speed and EQ high and low cuts. The vinyl at the end of the scene should grind to a complete halt, with the associated pitch, speed and quality changes. There should be absolutely no gap between the stopping of the final Bach Fragment and the final entry of the vocal quartet – if anything the Bach should be cut off a little short.

re

During playback of the Bach fragments, GWEN can choose to hum or sing along to her own recording, depending on whether she is hysterically laughing at that point or not. These Bach fragments can be performed live instead, either live voice and prerecorded Harpsichord, or both live. GWEN’s part and role in this scene should be devised to suit the choices made – it will need some consideration.

s

The Bells should sound distant.

ht

The Drone through this scene should be an almost imperceptible D sine wave. Very discreet.

ig

GWEN should be left in a physically-awkward position by the end of this scene, preferably lying.

/A

ll r

Scene 18

GWEN stays in the awkward position and hums. She is alone. Light reverb on her humming voice. The BAND should sound natural and warm.

nd o

n

The pre-recorded sound cues should have tape button on and off sounds at beginning and end, and be treated to sound like a cassette recorder. LUCY’s lines at the end of the scene can be live or pre-recorded.

di

Lo

The last line LOOK AWAY FROM ME should be very angry, screamed (like in Scene 16).

Scene 19

R ic or

This scene is on a click track.

The BAND should be loud, amplified heavily, slightly compressed. A Michael Nyman Band kind of sound. Voices will need to be amplified to match, but should sound natural. The Bass will need some extra help. This scene is a bass solo.

by

This Scene is about the stripping, binding and gagging of the CAST and the application of Electro-convulsive therapy. It need not be representational. Analogies with drowning/submersion, similar to Scene 13, can be made. For example, the gagging from 19C could be submerging the head in a tank of water. The whole scene is on click, so all lighting and sound changes should be mapped to that automatically. The click speed can gradually increase to 144 through the scene. By all means do the scene at a faster tempo if possible.

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Scene 17

al

The text can (and should) be recorded as voiceover, shouted and screamed in tremendous pain. This should be recorded by a non-singer for real screaming. There needn’t (but can be) be precise synchronisation between recorded and projected text, but there shouldn’t be too much synchronisation with the music – the voiceover should sound naturally hysterical.

ly

Alternatively, this scene can be done on a dark stage, and used as an opportunity for Blackout/Scene Change. Then the text in this scene should be projected, large, downstage, as in Scenes 4, 8, 14, 20.

The six interjections of “ECT” just before 19H to the end, should set the blocks of text found in Sarah Kane’s text for 4.48 Psychosis, p29–30, “flash flicker punch” etc. Each word in each block is mapped to a semiquaver. So each block has 31 words, meaning 30 semiquavers and 1 quaver at the end, equalling 8 crotchet beats. The tape part for these interjections should take the recorded words, shouted angrily by the cast, and map them onto this framework, overlapping each other, and apply panning so that words come from all different directions (in surround sound). They should remain in the tempo of the BAND, i.e. 138 or 144. Be creative – they should sound cacophonous and menacing. These interjections should be accompanied by sudden blackout, the distorted sounds of pop songs and/or beep-tones, or underwater sounds. ‘Underwater’ filters may be applied as earlier.

One or more CAST may be pushed under water (dunked, drowned) during these interjections. The water should be amplified so we can hear the splashing.

XI


Scene 20

Exactly the same as Scene 4. This scene is on a click track.

This scene is an opportunity for Blackout / Scene Change

ly

The HI-STRIKER should be visible to the audience and lit. Hitting it should be an aggressive over-arm action. It should be calibrated to always win. The BAND should be loud, amplified heavily, slightly compressed. A Michael Nyman Band kind of sound.

Projection should be huge, and close to the audience, against a dark stage (just the Hi-Strikers lit). (See Projection Notes.)

ru s

Scene 21

pe

This is similar to scene 17, except only GWEN and JEN: Lots of reverb, a cavernous, isolated feeling.

or

The Tam-Tam should be visible to the audience and well lit and the player (dressed as DOCTOR) should kneel in front of it. As if a ritual. The Tam-tam should be amplified and EQed to emphasise the lower frequencies. JEN remains gagged from Scene 19.

/F

Give lots of time and space in this scene, especially when waiting for the synth chords to slowly glissando. Timings of the synth movements at 21C need not be aligned with the vocal parts, and hence are just given as follow/on sound cues.

ed

Scene 22

rv

SAXES, ACCORDION, SYNTH and STRINGS should be balanced against each other equally, so the chords emerge and disappear to give a continuous wall of sound. Some compression should also be applied. This is the same musical material as in Scene 13. Vocal amplification will need to balance with the BAND so the words are heard clearly.

re

se

The vocal quality should be parlando – vowels and enunciation should be clear but not ‘sung’. Go for a natural speaking sound with slightly more support behind the pitch. This will sound more supported as the pitches get higher later in the scene. ‘Sung’ passages are just that. The general feeling should be positive, hopeful, the antithesis to Scene 3.

s

JEN should keep the glissandi as smooth as possible, so we lose sense of where the semitones are.

ig

ht

Scene 23

This scene is on a click track.

ll r

Same lighting and situation as Scene 6. BASS DRUM(S) and PERCUSSIONISTS visible and lit. They can share the same drum (standing opposite each other on either side) or use different drums. They may be on stage.

/A

GWEN, JEN, SUZY, CLARE and EMILY are on stage left, facing LUCY on stage right. PERCUSSIONISTS must play the scene from memory.

n

General pauses bars can be elongated if required.

nd o

The parts of GWEN, JEN, SUZY, CLARE and EMILY can be pre-recorded if desired, and mapped to the click track. If so, they should sound as if sung live, as far as possible, and from the stage speaker, close to where they are standing. They may want to lip-sync.

Lo

If performed live, the parts of GWEN, JEN, SUZY, CLARE and EMILY can be supported with subtle synthesiser vocal samples (hummed).

di

The last four bars of the scene should be done live.

R ic or

The drone should be aggressive and persistent, starting subtle and becoming intrusive and overpowering.

The sampled bar at 23H can be looped many times, maybe at great speed. It should sound like a glitch in the Matrix. Something significant has happened.

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If the 8va in SAXOPHONES at 23G is not obeyed, then the entire SAX parts from 23C should be put down the octave, and played, even at that tessitura, as quietly as possible. Amplification can help to balance.

XII

al

on

The Quiz Show sound of correct bell should be loud and clearly audible over the band.


Scene 24

The opening of Scene 24 should be terrifying. The BAND and singers should be loud. The Pipe Organ should be prominent.

ru s

Bar 86 “the rupture begins” can be replaced with live spoken chorus, if desired.

al

Make sure the vocal quintet can be heard clearly with the line “I have always loved you even when I hated you” at 24H. The ACCORDION four bars before 24K can be doubled on SYNTH if desired.

pe

The VIOLA at 24K should be visible and lit. The player should be dressed as the CAST. The playing should be tender, vulnerable, simple. A little extra reverb should be added to the VIOLA for this passage.

or

The audience should hear the operation of the tape recorder at 24K. This can be faked with recorded button sounds, or the cassette recorder on stage can be amplified.

/F

Audio cue 89 is optional.

Glissandi at 24L onwards in the vocal quintet should be as fluid and long and even as possible. This is challenging, but can be done.

rv

ed

The PIANO should be prominent here, unless a synthesised piano is being used, and then, well, make your own judgement. It is for this passage that a real piano is desirable. The ACCORDION should just support the STRINGS and CAST. GWEN should be most prominent, but we need to hear the words of the vocal quintet when they interject. Some spatialisation may help. Each CAST member may leave the stage once they have finished, in the order EMILY, JEN, CLARE, SUZY, LUCY.

re

se

The Tape Recording at the end can be faked (on the stage speaker, or through an actual Cassette Recorder on stage), or done with an actual Cassette Recorder and a cassette. In this case, the tape will need to be spliced and re-joined so that the recording cuts out onto the tape spool just at the end of or midway through the word ‘curtains’, and that the cassette recorder will automatically stop itself when the tape reaches the spool end.

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Postshow

s

The final song from 24L onwards can be marked up in dynamics significantly, according to taste, acoustic and staging. BLACKOUT must be in sync with the tape button release.

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/A

PLAYOUT: If you would like a play out, I would suggest How to disappear completely by Radiohead.

XIII

on

The Tape collages at 24F and 24J can be creatively done, but not so complex that they obscure the simple spoken delivery of the text. We need to understand the words. They can be one voice or many, and if many, should be in surround sound. GWEN’s passage from 24G to 24H should be clear, and come through the tape collage. All pre-recorded voices should be treated to sound like cassette recorders, probably also with the sounds of tape buttons clicking on and off.

ly

24D should be the first time in the opera where there is total silence for more than a fraction of a second. The singing in this section can be optionally cut and replaced with spoken-text delivery, like straight theatre. The cut Kane text can be re-inserted, although I prefer it without. GWEN should sound incredibly lonely and hurt in this passage. She is broken by the Doctor’s betrayal.


Sound Cue List

Decimalised cues are optional ones. F/O = follow on, either immediately or with a delay (indicated in score) Approximate and discretionary sound dispersion is indicated in score (Stage Speaker, PA in auditorium, Subwoofer)

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7 8 9

10 11

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Scene 11 Clare’s song synth track STOP Elevator muzak Click (percussionists) Projection video Elevator muzak stop Synth tones stop Bar 12 waves Bar 23 waves Bar 47 waves Bar 57 waves Bar 70 waves to gasping Click Voiceover track for Scene 14 (if recorded) Organ Bass Drone to begin Scene 15 TV sound EF drone Text: Hatch opens Text: Stark light Text: CUT HERE Choking noises Text: DON’T LET THIS KILL ME TV off Stop choking Gasping Voiceover track for Scene 16 (if recorded) Text: It’s all right Text: LOOK AWAY FROM ME Text: It’s all right, I’m here Text: Look away from me. D drone & sine tone Bach Fragment A Stop Fragment A Bach Fragment B Stop Fragment B Bach Fragment C Stop Fragment C Drone fade out Text: At 4:48 Text: Why do you believe me Text: Remember the light Text: It’s all right, you will get better Text: your disbelief Text: Look away from me Click Tape track for Scene 19: Flash flicker Text: Hatch opens stark light (if recorded) ‘Correct’ Chime track Click Synth for Scene 21 Synth glissando Synth glissando Synth glissando Synth fade out Bass drone (A) Click (percussionists & conductor) Pre-recorded voice track (if recorded) Text: Hatch opens stark light and nothing Text: The child of negation Text: Out of one torture chamber Text: A black and white film Text: Oh no, Oh no All tapes stop Text: Just like my father Text: Hatch opens stark light Text: I don’t know where to look Text: I’ve not killed myself before Text: Nowhere left to turn All tapes stop Sine wave B flat Sine wave stop. Text: It is done Viola & Gwen tape recording

/F

52 F/O F/O F/O F/O 53.1 53.2 53.3 53.4 53.5 53.6 54 F/O F/O F/O 55 F/O 55.1 55.2 56 57 58 59 60 60 61 61.1 61.2 61.3 61.4 62 62.1 62.2 62.3 62.4 62.5 62.6 F/O 63 64 65 66 67 68 F/O F/O F/O 69 F/O F/O 70 71 72 73 74 F/O F/O 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90

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Elevator muzak Scene 1 tape track build up, elevator muzak Click (percussionists) Projection video Bass drone Text: A consolidated consciouness Gasping (if recorded) Text: The broken Hermaphrodite Text: As I scuttled like a beetle Chorus cue 1 Chorus cue 2 Chorus cue 3 Sine wave Sine stop Text: At 4.48 Text: At 4.48 I shall hang myself Buzzer / chime track Click Track Heavy breathing (Gwen) Bass drone Cassette button ‘on’ (synced with cue 13) Text: It wasn’t for long Text: I wasn’t there long Text: But drinking Text: I catch Text: I catch Text :That Text: Medicinal smell Text: in a cloud Exhale Text: and something Text: something Text: touches Text: and something touches me Text: in that still sobbing place Text: and a wound Text: from two years Text: opens Text: like a Text: cadaver Text: And a long buried shame Text: roars Text: its foul decaying grief Click track Tape collage track Bass drone fade out Elevator muzak Click (percussionists) Projection video Elevator muzak stops Drone starts (G falling to E) Text: At 4:48 I shall not speak Gasping Fade out drone Static blackout #1 Static stop Static blackout #2 Static stop Static blackout #3 Static stop Static blackout #4 Static stop Static blackout #5 Static stop Elevator muzak Click (percussionists) Projection video Elevator muzak stop Clare’s song synth (if recorded) Text: In ten years time

12

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1 2 F/O F/O F/O F/O F/O 3 4 5 6 7 8 9 10 11 12 F/O 13 F/O 13.1 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 F/O F/O F/O F/O F/O F/O 36 F/O 37 38 39 40 41 42 43 44 45 46 47 48 49 50 F/O F/O F/O 51 51.1

Description

Lo

2

Cue no.

di

Scene Preshow / House opens 1

21 22 23 24

XIV


Table of contents

Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

ly

Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

on

Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

al

Scene 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

ru s

Scene 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Scene 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

pe

Scene 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 Scene 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90

ed

Scene 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

/F

Scene 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

or

Scene 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Scene 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

rv

Scene 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

se

Scene 15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

re

Scene 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148 Scene 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154

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Scene 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166

ig

Scene 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170

ll r

Scene 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189

/A

Scene 21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195 Scene 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197

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Scene 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

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Scene 24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217

XV


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