There are so many facets to a good production, not the least of which is its music. Most of us do not attend a dramatic play anticipating the music, but a good musical score can enhance meaning and create connections that the script cannot. We are so fortunate to have composer Allan Loucks working with Theatre Northwest. Allan was kind enough to share some of the ways he approached composing the music for A Streetcar Named Desire.

“In film, TV, video games, multimedia, and the theatre, sadly enough, the power of music is almost never utilized - music is usually chosen simply to “set the mood”.  But saying, “music sets the mood” is exactly the same as saying, “costumes tell you that the actors are wearing clothes”. Sure, it’s true - but it completely misses the point.

Music is a language which contains intrinsic meaning of its own, which is not to be confused with specific moods or feelings, nor pictorial impressions or stories, and certainly not with the meaning of any associated lyrics. These intrinsic meanings exist in the form of (instrumental) transformations, generating a constant stream of musical metaphors, all of which possess a sense of forward moving inevitability, from the beginning to the very end of the piece.”

Working with director Rod Pilloud, Allan created a detailed chart to indicate the type of music, themes, timings, styles, orchestrations, and shape of the plot at every point of the show before a single note was written. “After that,” he says, “it becomes much simpler to start composing, as the musical arch and the starting and destination points are defined.”

Allan created a “Belle-Reve” theme, because what happened to Blanche at Belle-Reve is analagous to what happens in this story. All of the music is derived from this theme. From there, he developed three types of music for the show: First, the music occurring in the show, which is the jazz/blues band music we can hear being played at a nearby club; second, the impressionistic solo piano underscore; third, the music in Blanche’s head, depicting her state of mind, - the Varsouviana Polka.

Allan’s own skill at the keyboard is enhanced by the very talented Peter Rockas on tenor and alto sax, Nick Loucks on cello, Holly Loucks on violin, and Matt Loucks on prepared harpsichord in the prerecorded parts of the composition, and with Darren Struthers playing sax live on stage.  Here is a small taste of Allan’s Bell-Reve Finale, with Peter playing the sax:   BelleReveFinale.mp3

And for a little shameless promotion (justly deserved, in my opinion), Allan recently composed a score for a requiem mass for orchestra, choir, and four vocal soloists. It will be performed Monday Nov. 2, 2009, 7 PM, at Our Lady of Fatima Church, 3307 West Dravus Street, Seattle WA, 98199. Allan will be performing harpsichord in the orchestra.