The voices of origins

15 groups contribute to the production’s soundtrack via the Web

"The origin of music"

Except for a few voice-over announcements, Rogue Artists Ensemble’s HYPERBOLE: origins, now running at [Inside] The Ford, is basically wordless. Music, an essential element in any theatrical production, assumes even greater importance in the absence of dialogue.

“A lot of thought has been put into each music choice in the show, and it really represents the ‘voice’ of the characters,” says Production Manager Tyler Stamets.  “Puppets and masks really do well in the heightened environment of music.  Music plays a huge role in our concept of Hyper-theater by allowing us to really control the mood of the performance and the audience and heighten the theater experience. We like to be bold and music is part of that.”

HYPERBOLE: origins, like all Rogue shows, was developed over a long period of time by the ensemble and music was an essential part of its genesis.  Rather than just pick and choose songs from albums the ensemble liked, Rogue Artists put out a call to musicians, asking for contributions to the piece.

“So often theater companies just use popular music without asking permission, and that really bothers me,” states director Sean Cawelti. “We have always composed music, worked with a guest composer or asked permission to use music.  We strive to never use music that carries too strong an existing connotation. How terrible are the Romeo and Juliet's who play Rush or something during the death scene.  All you can think about is Rush! ”

“The fact that much of the music in the show was submitted to us by musicians all over the world via our Web site www.whatistheorigin.com was the most amazing experience,” adds Stamets. 

Contributions range from the experimental Animal Collective from Baltimore’s alt-rock/electronic scene to Los Angeles-based folk-pop duo The Ditty Bops to British artist Max Tundra to Denmark’s Oh No Ono.

Scene from origins

“It's an amazing mix of music and artists from around the world with styles that you would never think could work together but remarkably do,” says Calweti. 

Asked which group inspired him the most, Stamets said, “The piece of music by Animal Collective really sets the tone for the show and plays so well with what we are trying to do onstage.  It really has wound up becoming central to the whole show.”

Filling in the gaps between the song contributions are sound designer John Nobori’s creations.  “I think the most exciting scene in the show is the Origin of Sin piece where we tell the story of Adam and Eve,” comments Cawelti. “For that piece we use music from the 1960 Seattle World's Fair and deconstruct it with beats and sounds John composed.  It's a dynamic mix of old and new and really represents what we like doing the most!”  

Check out the the music from HYPERBOLE: origins by visiting the Ford Theatres Web site or going to Rogue Artist Ensemble’s whatistheorigin.com.

LA Weekly gives Hyperbole a "GO." Read all the reviews here.

HYPERBOLE: origins is playing now through December 12 at [Inside] the Ford.  Watch the trailer.