This week we have a guest post from Dede Booth, the composer and sound designer of The Sandman’s Coming, which opens October 24th. Tickets available now!
When Molly Ballerstein first approached me to compose the music and sound design for The Sandman’s Coming, I was intrigued as well as feeling those good kind of nerves that make you feel like when you don’t know what you’re doing but know that in the end, you will own and be proud of whatever product has been achieved. I had only ever written vocal/lyrical music before; progressive rock and pop metal to be more specific, so approaching an instrumental score of music was slightly new territory for me. The timing could not have been more than perfect to accept this challenge though. I had been dealing with a vocal injury and was exploring new ways to make music while my voice was recovering. Taking that instrumental journey by composing for the theater seemed just what I needed.
I approached the writing and recording process differently than I would’ve with my band’s music. Normally I write the song’s “blueprint” on my acoustic guitar and once the idea’s are all flushed out, I track a demo and begin writing around that initial idea. This time, I produced and arranged the music simultaneously to the writing. Some times this meant approaching the music in a somewhat improvised way, laying everything down in one take and producing and layering with multiple instruments at the same time. Other times it was experimenting with an idea that I had stored away in the back of my mind for months (or years even!), and playing around with how I could manifest those ideas and make them fit within the context of the Sandman story. Another difference is that I tend to record all the tracks that a particular instrument is being used for and go through each instrument at a time; so basically recording each song at the same time (all the guitars, then all the drums, etc.). For this, I did one song at a time. So I’d track a guitar part, mix it down, then track another instrument, and so on until the piece was finished. I enjoyed this process very much. In fact, I think I learned more about production and got what I wanted to achieve sonically by doing things this way.
Instrumental music is an interesting challenge for me. My lyrical music is existential in nature, and many of my songs in the past have touched on the theme of addiction. Additionally, I happen to hear my compositions through the imagination of movement. It may sound odd, but music is very visual to me. So I felt completely comfortable and connected to putting myself into the elements of Sandman. The challenge then came from being able to convey the emotional elements I try to do through my lyrics, and achieve the same emotional outcome through instrumental music. I wanted to put myself into each character’s role and really give each sound or melody or rhythm that characters’ personality. I wanted the music to symbolize each character so that when viewers heard a certain guitar sound or piece of sound design they could recognize that sound as being The User or The Heroine or The Watcher. When I listen back to these pieces, I think I was able to do just that.
It’s been interesting working on this music and visualizing the direction of the play while working solely in Boston and not being present at rehearsals. In a way, it forced me to dig deep into this play and put myself into every role and every movement this piece conveys. The Sandman’s Coming has been an incredible opportunity for me to grow artistically, challenge myself musically, and open my music up to other mediums of listening and experience. I’m honored to be a part of it and am looking forward to where this experience will take me.
Dede Booth is a Boston musician/producer, music therapist in training, & mental health advocate. To learn more about Dede and her work, check out her website here or follow her on Twitter here.
