Jeff Britting Quotes

After I write a sequence, I just open the script and then sit at the piano keyboard and "play" the script. (And because I also draw and paint, sometimes I sketch out the action as well.)

Ayn Rand called her novella Anthem a "hymn to man's ego." My approach to Anthem the play was to provide the story a further dimension through music and sound. The work is now larger than a hymn. It's really "spoken opera."

Sometimes, I stood at the front of the E train, watching the tunnel ahead, imagining what Anthem would look like on stage.

Basically, I composed the musical structure in one pass. The rest was editing and small adjustments. And when the play was read by actors with the music, the sequence timed-out perfectly.

I really enjoy fusing text and music.

Each day, I read the New York Times before leaving for the theater. And I have this standing assignment: connect the world of Anthem to the late breaking events of the day.

If Anthem finds an audience in New York City, my hope would be to see the play transferred to a commercial theatre for an open-ended run.

Typically, among the audience members joining the actors, the director, Ann Ciccolella and myself, about half of these theater goers have read the novel [Anthem], and half have not read it. That is interesting.

The idea for Anthem the play began over twenty years ago. I was assisting in the production of another Ayn Rand work, Ideal. I moved to New York and began working on producing the play with my partners. And as a way to raise money to cover some venture debt, we decided to stage Anthem for a limited run at the Lex Theatre in Hollywood.

Most of Ayn Rand's major characters are already formed at the start of the stories.

Jumping twenty or so years later, Ann Ciccolella, artistic director of Austin Shakespeare, approached me with the idea of staging Anthem. She had heard my film score to Ayn Rand: A Sense of Life. And she said, I want to do Anthem as an oratorio. Well, I figured what she meant was a straight play with music.

After each performance of an Austin Shakespeare production, audiences are invited to stay for a ten-minute discussion of the work. And this tradition continues in our New York run.

I always thought the story [Anthem] would work in three dimensions - and studying that cut material was very useful.

I certainly did my best to bring the story [Anthem] to life in another medium.

I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.

I think a successful adaptation rises or falls on the work presented. If people need to read the book to understand the play, I didn't complete the job.

In the original novel [ Anthem], the story unfolds in the mind of a single character. Maybe that's why Ayn Rand called the work a poem.

Actually, one Anthem cue is a good example of the process. There is a four-minute sequence of music in Anthem, which underscores a prison sequence, and it lines up with five different, smaller scenes within one large scene.

I love film scores and opera, and I wanted to work in those forms. But theater was more accessible. And no one was doing this in the late 1970s, when I began working in the theater. So, I have written scores for thirteen plays, which are not musicals, but straight plays.

Music and text have several commonalities, and one is meter and rhythm. Both spoken word and music have certain regularities, and they can be sub-divided rhythmically.

Who can I marry? Where can I live? What kind of career can I achieve? These are just some of the stories breaking with Anthem-like implications. And the ideas crushing the individual are all around us, chipping away at us constantly.