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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.

Jeff Britting

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Jeff Britting
Age: 67
Born: 1957
Born: January 1
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More quotes by Jeff Britting

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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.
Jeff Britting
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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.
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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.
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I really enjoy fusing text and music.
Jeff Britting
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Sometimes, I stood at the front of the E train, watching the tunnel ahead, imagining what Anthem would look like on stage.
Jeff Britting
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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.
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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.
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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.
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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.
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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.
Jeff Britting