by Kevin
Empty spaces – what are we living for
Abandoned places – i guess we know the score
On and on, does anybody know what we are looking for…
-Queen, The Show Must Go On
Music is supremely important to me. I try to include music in every production I direct, whether it’s existing music (using Johnny Cash’s Hurt to underscore a teenager who is forced to acknowledge his own actions) or new composition (telling the story of Oedipus the King from a church pulpit), music in production can serve to underscore, to highlight or to educate. Heck, I’ve written an entire musical based upon the value of music in modern society. Music has an ability to bridge the divide between audience and performer in a unique way, making emotions and moments more accessible to a wider range of audience.
We have incorporated 30 songs into both parts of Henri IV. The songs themselves are pulled from multiple genres over the last seven decades (and beyond): the Black Eyed Peas, Natalie Imbruglia, Tori Amos, Bob Dylan, Green Day, The O’Jays, Cat Stevens, Fleetwood Mac, Paramore, and many more. There’s no common theme or element to the selections; we’ve incorporated music that is recognizable, that speaks to the moment. This cohesion is a testament to Shakespeare’s beautiful command of human emotion, and the marriage of songs that speak to that emotion within the text.
For example, at one point early on in part 1, Hallie and Poins decide to have some fun with Falstaff. They allow Falstaff to rob some merchants, then turn around and rob her while in disguise. As Hallie focuses on having fun and ignoring the duties of her office, we see her mother, Queen Henri (Annette Wasno) watching the hijinks and singing Harry Chapin’s Cat’s in the Cradle. It’s a heartbreaking and informative moment that transcends our story and evokes a more common feeling—a parent feeling like their child has grown beyond their influence. This is one of the seminal regendering moments in Part 1: consider the typical Henry IV/Hal relationship, for example. Could we conceive of a Henry IV who would sing this about his son? Why or why not?
We encourage audiences to listen to the words chosen for these songs: in many cases, we don’t see the full song, but selected verses. These verses have been chosen to help tell our story in those particular moments. A perfect example of this is in Part 2, when Lady Percy (Hannah Day Sweet), who is not dealing with her wife’s death well, sings Natalie Imbruglia’s “Torn.” “Torn,” as written, is about a woman who falls in love with a man, only to discover that he’s not what she thought she was. Now, this sentiment has nothing to do with our production, but with some simple cutting and editing, we wind up with these lyrics:
I thought, I saw a woman brought to life
She was warm, she came around and she was dignified
She showed me what it was to cry
There’s nothing where she used to lie
The conversation has run dry
That’s what’s going on
Nothing’s fine, I’m torn
I’m all out of faith
This is how i feel
I’m cold and i am shamed
Lying naked on the floor
Illusion never changed
Into something real
I’m wide awake and I can see
The perfect sky is torn
You’re a little late, I’m already torn
With this simple arrangement, we can now play as Lady Percy is singing about her dead wife, leaving her alone and frightened. Hannah’s performance of this song will speak to anyone who has felt the pain of loss.
Seeing our actors practicing their songs (on guitar, bass, cello, piano, ukulele, and trumpet) gives me goose bumps. We knew we had assembled a strong ensemble of actors, but hearing James Majewski bang out the bass line to “Let’s Get It Started,” Nicola Collett trumpeting “When I’m Sixty Four” and Jill Tighe belting out “One Tin Soldier” makes me appreciate just how special this massive production will be.
We’ve put together a Spotify playlist of all of the music we’re using in the show. Check it out, and use the comments to let us know your favorite song!
https://play.spotify.com/user/bravespirits/playlist/1C2tfbSDRAoYLL3EjlIqhQ