ORIGINAL SCORE
&
SONGS
ORIGINAL SCORE
Nikolas Labrinakos
In a composer’s life it is rare – at least in our time – to have the opportunity to work on a film that recaptures something of the great old school of silent movie making. I had the great privilege to be the first person to watch rushes of this film a long time ago when Marcus asked me to see the effect he had achieved by positioning music from Shostakovich’s symphonies throughout the timeline. I was astonished by how well some of it worked but it was very clear to us both that after a certain point the constant rampaging of the great Russian composer was getting in the way of the pure enjoyment of the narrative. Thompson went on producing another wonderful project we are currently working together on about the great Bermudian actor, Earl Cameron CBE, so ‘The Biggest Thing that Ever Hit Broadway’ was sidelined for a while until recently. The director told me in the early part of 2016 that he was back on the case and very keen indeed to see the the ‘Redux’ version of the film finished, but was concerned to find the right music – understandably, because 90 percent of the film is a silent movie. I had been spending time on an America project completing what will soon be a cinematic symphonic work, after concluding a feature film last year, and in an amazing kind of way I had been quietly thinking about ‘The Biggest Thing that Ever Hit Broadway’ and how I could do something for it.
Marcus called me in late January asking if I would be prepared to compose something on the piano so he could replace the Shostakovich to which I immediately replied ‘No’ – I meant ‘No way’ are we going to do just a piano score for such a special film. A real score that only the force of an orchestra can offer would be a much more attractive proposition. As there was no way to find the funds to accommodate say the Berlin Phil or the wonderful LSO I came up with a more practical solution. ‘The Biggest Thing That Ever Hit Broadway’ is a silent movie that moves in two parallel timelines. Thompson achieved, at least to my mind, a visual world that takes you back to the great days of Georges Méliès or even Charlie Chaplin, but with a fresh and very individual approach. It is the story of hopeful artists, wannabes, would be(s), has beens, and real artists all fighting for recognition in a British Broadway world exemplified at the Hackney Empire Theatre in London, where most of the filming took place. There are elements of magic and there is also murder, but presented in the most non-violent way which could only be compared with certain Hitchcock material. I started immediately sketching my score and decided to go down the difficult route of mirroring what is happening on screen. Not always however, like the extraordinary Carl Stalling of the great days of ‘Looney Tunes’ where every camera angle, every sigh, every dramatic close-up of a character was musically mirrored or contradicted. This is a particular world, one is invited to experience for an hour and a half.
The only way a composer, I felt, could face this challenge would be by crafting no more, no less a kind of work that an audience experiences say at the Royal Ballet. There is no speech, but just movement, action and decor. A dream film really from a composer’s point of view and a huge responsibility to say the least. Most of the score reflects the sound of a medium size theatre orchestra, but there are times the big sound is called upon especially in the Opening of the movie and Grand Finale. Little motifs insinuated throughout and textures of a Hollywood, but hopefully, more personal style enhance the activity continuously. And that was the very hard challenge of this assignment – that one cannot hide behind major sound effects, or dialogue. This was like revisiting the 20’s or 30’s but trying in a fresh manner of today’s world. I always had the greatest affinity for Bernard Herrmann’s film music, or the late amazing Jerry Goldsmith but such are only partial influences in this score, if at all. Stravinsky was certainly in spirit with me while I was making my long and never ending blocks of chords. Still I feel I hope I may have managed to produce, compose and perform something that offers invention and freshness in harmony with Marcus Thompson’s classic visuals. And it has been a journey that gave me each day such pleasure and excitement that I may dare say very few composers I suspect enjoy today.
Thank you Marcus for giving me the freedom and the opportunity.
NIKOLAS LABRINAKOS
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MUSICAL SONGS
Tony Rooke
Tony Rooke is a talented songwriter and screenwriter. He is also known for his recent outstanding documentary film ‘Incontrovertible’. The songs featured in the soundtrack of ‘The Biggest Thing that Ever Hit Broadway’ show the versatility that Tony is able to bring to his work. From the upbeat dance numbers featured in the show itself, ‘Tell Me Why’ and ‘Flights Of Imagination’ to the heart rending lyrics and haunting melodies reflecting Howell and Holly’s misfortunes found in ‘New Years Eve’ and ‘Just Another Saturday’. There’s a dark humour to be found lurking in ‘The Drinking Song’ and a spirit of hope rising from despair in ’Hello God’ and ‘Winner’. Then there’s aspirational ‘All This And Eastwood Too’. As for the rest, just brilliant love songs like ‘Something To Me’, ‘The Time I saw Her Eyes’ and the imminent hit ‘City By The Bay’, which is soon going to be right up there with Cory and Cross’ ‘I Left My Heart In San Fransisco’. Another surefire hit from the film will be Tony’s Christmas offering ‘The Snowman Song’.
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Neil Haydock
Neil’s career has taken him on a musical journey which covers many disciplines – from the web of musical theatre, to the sound of big band swing – from large orchestral works to experimental electronic scores. Neil seeks to create an original sound with each new commission or collaboration.Neil is a music writer for TV, film, dance and the stage. As well as work for the BBC and ITV, he has also undertaken several commissions as a musical arranger, including ‘Music 2000’, featuring Art Garfunkel. Neil has also completed a commission for the score to the British movie ‘The Biggest Thing That Ever Hit Broadway’.
For the stage, Neil has collaborated with West End playwright Kate Betts, in 1998 for the musical ‘Invisible Tears’, and also in 2004 for the children’s musical ‘Wilde Times’. Both musicals were professionally staged in the Minerva at the internationally acclaimed Chichester Festival Theatre. Neil has also had the pleasure of working with Oxford University Press (China), composing and arranging the score for a new musical for teenagers entitled ‘Nothing Is Impossible!’, premiered in Hong Kong in November 2009. In recent years Neil has been developing soundtracks and films for prayers capes
Neil currently lives and works in Chichester, England.
Read more: http://www.haydockmusic.com/#ixzz47sB30lpe
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