Submitted by Darren Callahan
Paul Gilvary, composer and musical director for Polarity Ensemble Theatre’s current production of Peer Gynt, had a significant challenge – how best to realize director Jeremy Wechsler’s vision for the Americana influences while staying true to the Norwegian mythology of Ibsen’s rarely done classic. The solution: folk music.
Folk music, a 19th century English phrase, has been characterized by the late 20th century Woody Guthries and Bob Dylans, and parodied in films such as Christopher Guest’s A Mighty Wind. But, at its core, folk music is about the roots of a culture, the smaller experiences of common men and women in the context of nothing but their own lives and fortunes. This fits perfectly with the aesthetic of Peer Gynt, a play based on various blends of Norwegian style, story, and absurdism. “I was playing this type of music when I was a teenager in the 70s,” remarks Gilvary.
Aided by two stellar musicians, Christopher Gagnon on violin and Teddy Stuebi on guitar and banjo, Gilvary, on bass, blends acoustic instruments, percussion, and leads the cast in several rousing numbers. Some of the music is traditional, while other songs are original compositions by Gilvary. “The songs, original and otherwise, pass through the director’s filter,” says Gilvary. “Jeremy also selected the song we play going into intermission.” “Don’t That Road” is a traditional song that closes the first act in rousing chorus of the full cast and effectively passes the baton from Bryson Engelen’s “Young Peer Gynt” to Richard Engling’s second act “Old Peer Gynt.”
Regarding the director’s influence on the music of the production, Gagnon adds, “Paul received some input from Jeremy. But from my perspective, as is often the case in theatre, the director has an idea for what he wants, but it’s up to the musical director to try to interpret that and translate it into something that makes musical sense. Artistic directors don’t always speak the same language as musicians—and vice versa—it’s one of the things that makes doing music in theatre both challenging and rewarding: coming to understand how the music and the artistic vision for the play can meet in the middle and result in something that lifts the production without drawing focus from it.”
Two other indelible numbers are placed within the production. Sung by Erica Bittner playing “Young Solveig” is an original composition that sweetly moves the story forward while highlighting the band and Bittner’s striking voice. And, towards a lamentable rough spot of Peer’s life, a promenade of singers belt out a Gospel song, “Glory to Thee”, while moving across twenty-foot-high risers above the audience.
Regarding the band’s history, Gilvary tells it like this: “Chris and I played together for a production at Strawdog Theatre. Teddy and I worked for a show for Silent Theatre. With Chris, we played in a band for the play Old Town. Teddy and I were part of a jazz trio for The Set Up where we performed original music. I hand-picked both of these guys because they have talent and are both pleasant to work with.”
With 40 minutes of pre-show music, the three musicians have the opportunity to connect as a band playing a set, and not exclusively as the background for the dramatic action of the play. Before needed at cast rehearsals, the band had opportunities to work out stuff in Gilvary’s studio. “Once we joined the cast, the time to rehearse is scarce. This is always the case when you make music for plays.”
“I’m very happy with how it gelled,” adds Gagnon. “We had good chemistry right from the first rehearsal, and our various talents seem to complement one other nicely.” In fact, the band’s considering continuing to play together even after the close of Peer Gynt. But, strike while the iron (and the band) are hot and see Polarity Ensemble Theatre’s production of Peer Gynt.
]]>
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
