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

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

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.

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.

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

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 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.