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.

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.

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.

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

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.

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

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.