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.

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.

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.)

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.

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.