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

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.)

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.

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

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.

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.

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.