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Another way to look at it

I’m going to start out more simply. As usual, Marc has amazing things to say, but he writes at such length that one hardly knows which part to respond to. (Pardon, Marc.)

I do appreciate Marc’s comment that what we do onstage does not need to detract from the music/poetry. That said, I think we have plenty of opportunity to dazzle the audience, and may develop more: I can always make more music to stretch things out.

Case in point: “Two Sunflowers Move into the Yellow Room” probably should contain minimal dazzlement during the main song, but there’s nothing that prevents us from adding a Ballet of the Sunflowers which takes the main theme and extends it into a bigger piece.

Two things happen there: it lengthens the program a little bit, and I do think 34 minutes is too short, and it gives more children stage time. That’s the thing we’ll explore over the next few months.

But to make this brief and open up for comments, I don’t think we need any kind of plot/script/frame to make it work. There’s a sense of movement through about a day and a half in the whole piece, and I really think that’s all we need to offer the audience. I think I’ve said this before, but one instructive model is that of Cirque du Soleil. They may set up a barebones storyline at the opening, but the following two hours is just one visually arresting image after another. Connectivity? Not so’s you’d notice. Logical plot? None.


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