Now that The Credeaux Canvas has closed and its set has been struck, I wanted to highlight some of the music we used in the show.
The house music began with this piece by Morten Lauridsen, "O Magnum Mysterium," sung here by the Nordic Chamber Choir. I wanted to hint to the audience that I find this show beautiful, so I led with fifteen minutes of liturgical choir pieces.
After "Miserere Mei, Deus" and Luis de Victoria's "Ave Maria," I wanted the music to be sexy. I also wanted to pull from the present day, not rely on music from when I was the age of the characters in the show (mid-20s). Thus it amused me to use "Adore You" by Miley Cyrus, which is not only sexy by itself but has an almost comically steamy music video.
On nights when the theater wasn't completely fully of people, I heard audience members laughing at this next song, King Missile's "Sensitive Artist." Between us, I felt it poked fun at my snooty MFA reputation.
The first act got underway with a minute of Mozart's "Ave Venum Corpus," as sung by King's College Choir. Boy sopranos bring tears to my eyes every time.
We signaled the audience it was time to buckle up for the "naked scene," I.2, with the first verse of Alanis Morissette's "Uninvited."
As we faded to blackout for intermission, astute listeners may have caught a foreshadowing of Act II in Rufus Wainwright's "The Art Teacher."
Intermission concluded with some arty jazz. First came "In a Sentimental Mood" by Coltrane and Ellington, then another foreshadowing of bad news to follow: Miles Davis' sultry rendition of Kern and Harbach's classic "Smoke Gets in Your Eyes."
House out, go! We played the first two verses of "The Trouble With Classicists" by Lou Reed and John Cale, then used the guitar sting to "smash cut" into Act II. I found out later this song was written for a tribute album to Andy Warhol (Songs for Drella, 1990).
I promised my Facebook friends I'd discovered the saddest piece of music ever written. I think I can now deliver on that promise. And it's not just the music; it's how that music was inspired. Grab a tissue, friends. This one doesn't play fair. It's Polish composer Henryk Górecki's "Symphony of Sorrowful Songs." We used the second movement as we abandoned Jamie in sobbing, suicidal despair.
Finally, as it is the responsibility of a director to never leave a tender moment alone, we restated the theme of the play for its curtain call. Here is the one and only Adele's poignant "Million Years Ago."
Choosing the soundtrack for a show is one of my favorite aspects of directing. It gives me a chance to show off music I've discovered, including some I've loved for years. It amplifies the emotions of a script and guides the audience into a common heartbeat.
In answer to a question I've been asked several times lately, I have no idea what or when my next directing project will be. I'm fond of a Laura Gunderson script, "Silent Sky," which tells a story I'd been meaning to tell on stage anyway. For the moment, though, I'm burned out on dealing with backstage psychodrama, and I lack the mana to deal with the technical challenges of a play about astronomy. Instead, I'll complete my work on Seven Ways to Get There and then relax for the summer. Perhaps I'll even have a chance to catch up on some of other people's shows I've been missing around Puget Sound. I'd like that very much. Directing eats my life in large, messy bites, and I've been pushing Credeaux for four years.
THE CREDEAUX CANVAS by Keith Bunin
Produced by Theater Artists Olympia (and Carv's Thinky Works)
Stage Manager: Vanessa Postil
Assistant Stage Manager: Sara Geiger
Set Designer: Matthew Moeller
Set Dresser and Props Master: Hally Phillips
Running Crew: George Dougherty
Master Artist: R. Owen Cummings
Additional Art: Matt Ackerman, Alec Clayton, Becky Knold, Steve Saxton
WINSTON: Christopher Rocco
AMELIA (and costumes): Alayna Chamberland
JAMIE: Mark Alford
TESS: Amanda Stevens
Directed by Christian Carvajal