Part 1 Sound Design

Part 1 Scene 1

Rain falls in the background, increases in sound for a moment when Jean exits then reenters the cafe.

Phone rings:
4 times (Hermia)
4 times (Hermia)
3 times (Hermia)
until Jean answers (Hermia)
until Jean answers (business colleague, could be the Stranger)
until Jean answers (Mrs. G)

1.1 – 1.2 Transition

rain, ambulance, church bells

(begins normal and morphs into strange unique other-worldly sounds)

Part 1 Scene 2

Church music – Agnus Dei, heavy on organ, may filter out most of the vocals

Hymn – Arranged for Organ, Mrs. G sings (“You’ll Never Walk Alone”, are there any possible alternatives? – this seems pretty much demanded by the script)

Phone rings:
until Jean answers (Other Woman)

another phone rings in audience – Apple Marimba ringtone

until Jean fumbles/shuts off (Other Woman)

to end scene, Jean exits, ring fades out, into music (Other Woman)

1.2 – 1.3 Transition

from cell phone ring into film noir music, still raining

Part 1 Scene 3

rain continues

possible far-off echo of Gordon’s laugh when OW imitates?

Phone rings:
until Jean answers (Mrs.G)

1.3 – 1.4 Transition

film noir music fades back in, gives way to scratchy Gershwin music, bit of cell phone sound contained within

Part 1 Scene 4

Silent Scene

1.4 – 1.5 Transition

Hermia puts on Gershwin record

Part 1 Scene 5

Record skips when Mrs. G storms out, Hermia flips record and starts it up again

Mrs. G’s cry will include actual recorded sounds from actress plus some subtle mechanical noise (like the record scratch) or animal noises. Maybe fed through a space echo.

1.5 – 1.6 Transition

Cry is absorbed into music. The Album Leaf or Mogwai. Maybe something composed in a similar style.

Part 1 Scene 6

Phone Rings:
ring fades into music (music should be in a similar key as the ring)

Music will continue softly throughout the scene and swell for the kiss.

Cuts out at blackout (or string loop continues all the way into Part 2).

Intermission

Loop of the string sounds at the end of The Album Leaf song, layered with sparse “ring” sounds played on the Rhodes. Digital cuts here and there, setting the stage for Gordon’s limbo scene (lots of whole tone scale – no specific key – digital cuts and noises).