Breaking the sound barrier: composers parlay their experience as sound designers into new musical forms.
American Theatre, February, 2006 by Blankenship, Mark
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IT'S GETTING HARDER AND HARDER TO SPOT A MUSICAL. Take Lady Madeline, a "musical re-imagining" of Edgar Allan Poe's "The Fall of the House of Usher" that opens at Chicago's Steppenwolf Theatre Company this month. The show will feature several songs co-written by Andre Pluess, but he wouldn't call it a musical.
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And Scott Killian wouldn't use the term to describe William Gibson's Jonah's Dream, which ran at Connecticut Repertory Theatre in Storrs last October, even though he himself co-wrote almost a dozen tunes for the piece. Not even Mark Bennett will ...
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