9/7-9/24 | Forward Theater’s THE GARBOLOGISTS runs at the Overture Center for the Arts (Madison, WI) w/ Designer’s Notes on Original Score

Forward Theater Co. Presents:
Playhouse Theater at the Overture Center for the Arts
TICKETS + dates & info

by Lindsay Joelle
September 7-24, 2023

Wisconsin Premiere

Directed by Jen Uphoff Gray

Featuring Alys Dickerson and Danny Jones

Scenic Designer: Sarah Ross
Lighting Designer: Colin Gawronski
Costume Designer: Karen Brown-Larimore
Sound Designer/Composer: Brian Grimm
Props Master/Asst. Scenic Designer: Pam Miles
Technical Director: Tony Lyons
Stage Manager: Tenley Pitonzo
Asst. Stage Manager: Abbi Hess

~ If you see the show and stay for the Talkback, be sure to ask the actors about their ride-along with the Madison Sanitation Department!!

~ Also, be sure get to the show early to check out the visual art exhibit in the gallery area outside of the Playhouse Theater. It’s hosted by Arts + Lit Laboratory and comprises of art pieces made out of trash and recycling!

Some details on the show from Forward Theater:
This off-beat buddy comedy pairs essential workers from two different worlds in the shared cab of a New York City garbage truck. Danny’s a white, blue-collar mansplainer hiding a heart of gold. Marlowe’s a Black, Ivy League-educated newbie learning the ropes from her old-school partner. When they’re thrown together to pick up what the world has discarded, they discover there’s more that binds them than taking out the trash.

“A surprisingly humane and honest play that’s filled with as much laughter as it is drama…and reminds us that we shouldn’t judge a book by its cover. We learn that if given a tattered, grimy old volume of text and illustrations, and you take the time to examine it carefully, its value can exceed your imagination.”
– Chicago Theatre Review

 ASL-Interpreted Performance: Saturday, Sept. 23 at 2pm – Reserve here for special pricing and unobstructed view of the interpreters.

 Audio Described Performance: Sunday, Sept. 24 at 2pm – Please email ssafarik@forwardtheater.com us to let us know you’re coming, so we can make sure you have the correct device and a great experience.

🤩 Playwright Lindsay Joelle to attend Wednesday, September 13th talkback!!

Notes on Sound Design and Original Score by Brian Grimm

** Please do not download these files, I’m streaming them here as a preview – if you want a copy of the album, wait for the official soundtrack to come out for purchase on GrimmusiK Records bandcamp. ** Thanks!!! ❤️ Brian

The Music is Trash…

That’s right! You heard me! You didn’t even have to hear it from a critic or local theater review – this is comin’ straight from the source! The original music in this production is entirely made from trash, garbage, and recycling that I recorded. It was an absolute blast to record all of these fascinating sounds to see what sort of grooves naturally presented themselves and then build music cues from there. These garbage grooves feature aluminum cans, milk cartons, yogurt containers, a broken margarita glass, cardboard boxes, paper and plastic cups, paper and plastic bags, velcro, olive oil and wine bottles, an old beat up carbon steel wok and more!

Stage Prop Sounds
I also had a very fun recording session at the Overture Center, where I recorded a bunch of the props that are featured as garbage on stage throughout the production. In the music, you’ll hear a ton of percussion created from a mannequin, cat crate, birdcage, campfire pot, bamboo steamer, suitcase, along with some plastic and metal fans that were in the dressing room!

Kalimba Theme
The one exception in this landscape of trash music is the kalimba thumb piano; which was a delightful Christmas gift from my parents this year! The kalimba theme that I recorded is tied to one character specifically and appears four times throughout the show. That’s all I’ll say to avoid any spoilers. But if you see the show, see if you can catch all of the times this theme appears!

Special Sound Design Moments from Trash
I utilized the trash, recycling and prop sounds a few times in the show that became a mix of sound design, field recording and musical elements. One example is a panic attack moment of anxiety that one of the characters suddenly finds themselves in. To heighten this uncomfortable feeling, I added a crescendo and accelerando of a heart beat sound, which was actually made by striking a cardboard box with my thumb (the sound turned out great!). The feeling grows as the city soundscape also crescendos, accompanied by unsettling birdcage sounds and a distorted and slowed down version of the kalimba theme in the background.

Another example is the lovely quiet Interlude that we get in the middle of the show. A winter storm comes rolling over New York City. To create the atmosphere of blowing winter wind between the buildings I blew on a wine bottle to get a few breathy pitches and I used the ringing sustained sound I got from the birdcage after I would strike it with one end down on the ground and one end up and slowly lower it all the way down as it rang out. It was one of the most fascinating sounds I captured. This is all set in the backdrop of actual sounds of snow falling. Eventually the truck starts moving and the city sounds take over again as we start the next scene and carry on with the play.

The way that the city sounds, and musical sounds interact are very similar to a piece I composed back in 2018 called “They’re Still Here”, a 30 minute long Musique Concrète élégie honoring loved ones who’d passed that year. This unique piece of music dealt with how we handle (or don’t handle) the grieving process our modern society – which actually ties back into one of the themes of this play.

Sound Design
Obviously, there are a lot of garbage truck sounds and city soundscapes throughout the play. It’s about a 50/50 mix of sounds that I recorded and sounds that I collected from archives elsewhere. I did spend an entire morning waiting in my driveway for the recycling and garbage trucks to come by so I could record them. One big mistake I made; I forgot to charge my field recorder the night before. So I had it plugged into the side of the garage to get some charge and then every time I heard a garbage truck making a turn down a nearby street in the neighborhood I quickly yanked my recorder out of the outlet and ran over to our fire hydrant (right next to the trash cans) and hurriedly whispered which take and what type of truck was coming by. Then tried to play it cool by hanging out with my dog in the front yard as Anne did some weeding in the garden. We would celebrate (silently) with big fist pumps everytime a big, loud, fun garbage truck sound was captured.

Similarly, the city street sounds & construction sounds were about a 50/50 mix of recorded and found. But in the bar scene, Anne and I went on an undercover field recording mission at a local bar! I won’t name the establishment, but I will say that for a 7pm on a Monday night, it was a lot more crowded and way more drunk than I anticipated…

One of the main issues we faced with all of the garbage truck sounds I recorded and collected is that they were the type of trash collection where the truck grabs the garbage can with an mechanical arm and dumps the trash into the hopper – whereas the NYC sanitation workers are manually loading bags into the hopper. This made it difficult to use the longer stretches of garbage trucks driving, because they all had frequent stops with mechanic arm and dumping/crushing sounds. It made for a lot of stitching, layering, and editing together individual pieces of many different sound clips to create the one fluid sound that you hear in the show from one garbage truck sound to the next.

A Nod to Inspirations from Recycled Music Makers Around the Globe

One of my starting points of inspiration for the music, knowing that it would be heavily percussive and utilizing trash was the famous percussion show on broadway called “Stomp!”. I thought of that vibe as a good launching off point. Something percussive, from NY, with a lot of energy that can move us forward from scene to scene. However, the true main inspiration for taking all of the trash and recycling and creating music exclusively from those items came from various ensembles around the world that have done just that. For instance the “Landfill Harmonic” in Cateura, Paraguay; which is a youth orchestra who built their instruments from trash in their local landfill. Making beautiful music from the ugly and discarded junk that finds its way to their home. In the play, the character Danny explains that you throw something away and it might be shipped to a landfill in India, etc, your discarded trash may see more of the world than you ever do in your whole life. And who knows how it affects the people where it ends up.

I had remembered this orchestra in the back of my head when we started this project and thought of them and how they use the trash of their landfill in such a positive way as a major point of inspiration. I also was thinking of the Eco-Afro-Futuristic punk ensemble Fulu Miziki @fulumusic (roughly translates to “music from garbage”) that I started following in recent years on instagram who also hand makes their instruments and performance outfits out of trash and recycling.

About the band:
Fulu Miziki is a collective of artists who comes straight from a future where humans have reconciled with mother earth and with themselves. This multidisciplinary collective of artists is based in the heart of the Congolese capital city Kinshasa and was founded by Pisko Crane. For several years now, it’s founder Pisko has spent an amount of time conceptualizing an orchestra made from objects found in the trash, constantly changing instruments, always in search of new sounds.

Making our own performance costumes, masks and instruments is essential to their approach of Fulu Miziki’s musical ideology. Their unique sound supports a pan-African message of artistic liberation, peace and a severe look at the ecological situation of the Democratic Republic of Congo and the whole world. For Fulu everything can be recovered and re-enchanted.

There’s also a singer who goes by Mc-Deive @mc.deive_ that I started following on instagram. I don’t know much about him other than he seems to sing about Brazil a lot and is maybe in Angola, Africa? Maybe someone can help me out here. All I know is that he sings super catchy songs while accompanying himself on an empty plastic water bottle with his camera man/hype man and that you should follow him!

As a follow up I’ll say that I wasn’t specifically trying to emulate the genre of music after any of these groups, it was purely the concept of trash music that I was taking as inspiration. All of the music genres I created for the show I let occur naturally. I let the trash tell me what grooves it wanted to play and went from there. There are some similarities to Fulu Miziki’s style, but that is more the nature of both projects exclusively using trash as it sounds, and being primarily percussive in nature – which will lead to some similarities. However, it was not my intention to copy their music style nor did I listen to them or any other groups when I was recording and composing this music.

2/3/23 | Bandcamp Friday! Recent Releases

Feb, 3rd is Bandcamp Friday, which means that 100% of album sales on bandcamp go straight to the artists!  So I’d like to share some of my recent releases with you – if you’d like to support my career, consider buying one of these albums!

“Birds of North America” original soundtrack

This is my original soundtrack from the Third Avenue Playworks October 2022 production of “The Birds of North America” by Anna Ouyang Moench!  It was composed for guzheng Chinese zither & cello, using both instruments to imitate the specific bird calls and songs that appear in each scene of the play.  The cues are short because music was utilized during transitions only, to help show the passage of time between each scene – so unlike most of my work, it’s very concise and a quick listen!  “Birds of North America” is a story about the relationship between a father and daughter over the course of a decade, set within the backdrop of our global climate crisis and political division.  There are extensive liner notes available on the GrimmusiK Records website, along with links to environmental organizations in Door County, WI that you can donate to!  I really love how this production turned out and am excited that I now get to share these compositions with you.  🙂

Before the 19th original soundtrack

Original Score composed, performed and recorded for React (Indianapolis, IN) filmed production of “Before the 19th” written and directed by Georgeanna Smith Wade. Released in support of women’s rights on the November midterm election day, read the full liner notes here.

“The Drift” by Lovely Socialite

Though our process for releasing this album was severely disrupted by the pandemic… it’s finally out and it’s some of our best work yet, so please please go buy this album. It has some of my favorite pieces that I’ve ever composed (like “The Drift” and “Gratitude”) and it features stellar performances from the whole band. If you’re a Socialite fan, you already know. If you’re not already, you’re about to be one!

“Birds of North America” (Third Avenue Playworks) Original Soundtrack Release with donation links to Door County Environmental Organizations

click album art to play the soundtrack!


BY ANNA OUYANG MOENCH, dir. Jacob Janssen

OCTOBER 2 – 30, 2022
Donate to TAP! → here

John and his daughter Caitlyn are birders. As they scan the skies over their backyard in a suburban Maryland looking for elusive birds, years go by. Relationships begin and end. Children grow up and parents age. The climate and the world change in small and vast ways. BIRDS OF NORTH AMERICA takes a close look at the relationship of a father and daughter over the course of a decade as they struggle to understand the parts of one another that defy understanding.

Anna Ouyang Moench is an award-winning playwright and screenwriter. Her plays have been produced at the Geffen Playhouse, the Playwrights Realm, East West Players, InterAct Theater, and many other theaters across the country and around the world. Anna is a 2020 Steinberg Award winner and the recipient of a Gerbode Special Award in the Arts commission for a new play that will be produced at Magic Theater in 2022. She has been commissioned by NAATCO for a new play premiering in 2021.

John played by C. MICHAEL WRIGHT
Caitlyn played by DEKYI RONGE

Director: Jacob Janssen
Assistant Director: Doug Clemmons
Production Stage Manager: Kelsey Brennan York
Set Design: Maddy Yee
Costume Design: Kärin Kopischke
Lighting Design: Colin Gawronski
Sound Design: Brian Grimm

TAP partners with the amazing Open Door Bird Sanctuary!

The Open Door Bird Sanctuary raises avian awareness and inspires coexistence with the rich natural world of Door County, of Wisconsin and wherever you call home. We are a private non-profit 501(c) 3 organization and the only facility of its kind in the area. With 34 acres of pristine land with hiking trails, wildlife viewing and our birds of prey, we offer a unique combination of environmental and wildlife education as well as being a destination for both Door County residents and tourists alike. Our visitors are all ages offering just as much awe and inspiration to adults as to children. Highlights are:

  • Feature live raptors for educational observation for Door County school groups, service clubs, senior groups all year round both on site and off.
  • Engaging environmental education through interactive, live behavioral demonstrations
  • Shelter to injured raptors (birds of prey)

In addition to having live birds in the lobby before our first preview performance (see video above!!!), Third Avenue PlayWorks also hosted an Environmental Roundtable in their theater space with local climate and environmental organizations. I think this was an incredibly smart and creative way for TAP to be involved with community building for positive change. This event highlighted the subject matter of the play, while using the Arts as an impetus for public discussion as well as nature preservation networking and education. I’m excited to see how TAP continues to engage with their local Door County and Sturgeon Bay residents! We need the Arts to be an active agent of social change, to be a space where the community can come to learn, reflect, empathize, reconsider, experience multiple viewpoints, and be inspired to get involved. Theatre has a unique power to spark important conversation around intense topics that are often avoided at family gatherings or among friends. I highly encourage you to donate to these environmental organizations in Door County to help make a positive change during a time of pivotal climate crisis. I believe in Arts Activism and have been lucky to be a part of many productions which raise awareness about important causes & lived experiences. It doesn’t get much bigger than the decisions we face and the actions we must take concerning global warming.

Donate to these local Environmental Organizations here >>

Soundtrack Notes
I’ll preface everything by saying that I was deep in the throngs of my first Covid viral infection when I composed and recorded the entirety of this score. The day I recorded the initial cello transcriptions of bird calls (heard in the pre-show) was the first day I showed symptoms. The night I recorded the “magical leaf drop” cue on ‘hammered’ guzheng, I was in a completely delirious fever pitch, just hammering away! So it’s a minor miracle that any of this score was finished in time (recorded over a 10 day period) and that the recorded material even turned out to be usable!

In most productions I’ve been a part of, there has been a lot of underscore. This comes from the style of composer I am, the type of productions I’ve been asked to participate in, and what those directors wanted from me. For “Birds of North America”, there was a different type of underscore and a new type of challenge. The director Jacob Janssen really wanted to utilize music for transitions only, as we marked the passing of time in measurements of years between each scene. The focus within the scene however was just the two actors, their father-daughter relationship and the natural environment they were set in while birding.

There is a rich tradition around the world of creating music from birdsong and I was glad to join in the fun of that genre on this project! To start with, I collected recordings of the bird calls of each species mentioned in the play and then started transcribing those calls and songs onto cello. I slowed the tempo and pitched the calls way down in order to fit them into a listenable and recognizable song structure for our human ears. The initial round of these translations can be heard stretched out even further to glacial climbs in the meditative pre-show music (more on that below). Jacob felt that these initial transcriptions sounded too sad and slow when played on cello alone, that we needed more energy to be infused into each transition. The subject matter of Climate Crisis, Political Factioning, and Dysfunctional Relationship were already so heavy that any music seeming too slow or sombre would drag us down instead of lifting us up and into the next scene.

Jacob and the actors Dekyi Ronge & C. Michael Wright did such a fantastic job of finding humor and layered nuance in the production to balance out these weighty topics, that I needed to match and support that energy. It all created more enriching, complex storytelling. To achieve this energy I added in a plucked instrument, the 21 string guzheng 古筝 ancient Chinese zither. I partially chose this instrument because it has such a lively, powerfully bright tone that fills a room, but it also has the ability to bend pitch behind the bridge of each string. These pitch bending capabilities allowed for better birdsong emulation than most other plucked instruments. Between the bowed cello and the plucked guzheng zither, I felt that we had the energy balance we needed and two complementary instruments that could support the dynamic of the characters on stage.

Anna Ouyang Moench specifically advocates in her script for open casting of the daughter character Caitlyn as either white or multi-ethnic. In TAP’s production of Birds, Caitlyn was performed by the bright and engaging Dekyi Ronge, who’s heritage is Tibetan & German. Dekyi explains that, “[I]t’s a gift anytime a writer encourages casting that expands who we get to see on stage. It not only shows us that stories don’t have to look or feel one way, but it also offers employment to artists who may otherwise fall through the cracks of some of our more traditional casting practices.” Representation matters very much in culture and the arts. Though that discussion has become a recent focal point of casting, programming, and employment; I think we’re still in the opening phases of making those improvements and making them last. Through her casting notes on pg.1 of the script, Anna Ouyang Moench, who is multi-ethnic, opens a doorway to that discussion from the very beginning of the casting process for any production of this play. That being said; theaters, film companies, commercials, etc shouldn’t need such a prompt for that to be the standard practice in casting.

The pairing of the Western cello and the Eastern guzheng are in part a response to this multicultural casting call of the show, but in a subtle way. As the script isn’t constantly calling attention to race or hinging on it, the focus remains on the two characters’ relationship, politics and their connection to the global climate crisis. Because of this, I didn’t make the main focus of my composing about fusing the cultural traditions of each instrument with one another. They simply became musical tools focused on telling the story of this particular relationship via birdsongs.

The opening theme of the show is one place where I did specifically bring together east/west influences into a single piece on purpose. It has a folk /bluegrass/ mountain music style – harkening me back to my time spent at the Telluride Bluegrass Festival in Colorado. It is purposefully meant to invoke the feeling of “Americana”. But the actual pitch/interval theme, playing techniques, and pitch/rhythm is derived from the energetic erhu 二胡 Chinese fiddle birdsong style. These are some of my favorite pieces that I’ve learned on the erhu (which I studied in Hong Kong); they are thrilling and so fun to play! I utilized this catalogue of erhu technique and style to translate the story’s birdsongs onto the cello.

There are other influences from my studies over the years that appeared in the music without me intentionally trying. I think it speaks more to the fact that after all the years of playing these instruments, listening, studying the music, the history and learning many styles, certain elements have naturally become part of my musical language & vocabulary. A few moments include the drone and slow cello melody of the pre-show emulating the sound of a Indian Classical Alap introduction to a Raga performance (there are a number of sarangi style moments with the glides, but slowed waaayyyy down). That wasn’t my original vision or aim for the pre-show sound, it just sort of turned out that way. More Indian Classical music influence is found in the closing theme “1,000 Birds” part 1 and part 2. In these pieces, which use my Sarangicello, I’m playing an interpretation of the Eastern Towhee bird call at a lively tempo. When I listened back to the recording, it started to remind me of a Jor (or Jod), an exciting rhythmic pulsing section at the end of an Alap (still unaccompanied by tabla), in something sounding like Raga Hamsadhwani. It isn’t a Jor, but it gives me a similar feeling and it’s technique has quite the same exciting effect, with the “guzheng wing flaps” even reminding me of an Indian Swarmandal accompaniment harp. These are techniques that I learned from my guruji, sitar master pandit Sugato Nag (Kolkata, India).

An influence from listening to and learning about Japanese and Korean court music styles can be heard on the alternate cue for Scene 7, the “apocalyptic mix” as Jacob called it! The ensemble textures with the flute on top really remind me of those styles when I listen back, especially with the sound of the percussive punctuation mark at the end. I really love how traditional Japanese and Korean music utilize space and highlight a singular moment with their percussion elements. So there you have it, some unintended, but nonetheless present influences that crept their way into this score!

Each musical element you hear is some translation of birdsong, from the melodies to the little rhythmic motifs. It all sources from those particular bird sounds heard throughout each scene of the play – and I’ve put the main bird calls in the track titles for each cue!

For the environment texture in the background of each scene (not heard on this album), I recorded hours of nature sounds at Owen Conservation Park near my house in Madison, WI. Owen Park has beautiful trails that stray between woods and natural Wisconsin prairie hills. The wooded trails connect into the neighborhood where I lived while recording this score, creating these wonderful fingers of forested pathways between backyards. There will be a 2nd release of this album coming out next year (2023) with the sound design elements and bird calls from each scene included. But to start with, I wanted to release only the original music as it’s own listening experience. I’ll give more specific notes on the arc of the internal sound design elements for these scenes with the release of that future “Sound Design Edition” of the album… stay tuned!

When There Were Glaciers” Pre-Show music listening guide

Because all of these music cues are transition music, they are quite short! That was one of the biggest challenges of the show and a very very useful exercise for me, as I tend to stretch on when it comes to composing a piece, or improvising, or even teaching… or writing…long sentences! But one place I knew I could intentionally spread out and do something big was in the pre-show while people were taking their seats and settling in before the performance. From the moment I started working on this production, I knew I wanted to make a pre-show piece where you just sat with a wall of glacier. Before we moved into the times of man-made climate change in the play, we could start in the time of glaciers.

In this solid ambience, you hear glacial cello drones mixed with icey guzheng string noises that give off frozen mists as the glacier cracks, settles, and calves. The piece is chronological, a historical timeline. When there are big dramatic guzheng chord strikes, it signifies an important natural environmental event in history – a change in the course of our planet’s trajectory. We also get to hear all of the original cello transcriptions of birdsong (stretched out even sloowwweeeerrrrr) to guide us through each epoch. For each slowed down cello-bird song, I then doubled and tripled the melody, playing in real time with the slowest bows I could muster! Matching all of the slowed down glides and slides was a very fun challenge. When the birdsong-cellos first enter around 3 minutes in, it represents the origins of life, such as plant and animal species appearing on earth. Life goes on for a while, and then around 10:45 we hear the first build of plucked guzhengs which lasts for about 2 minutes, symbolizing evolution, the proliferation of different species and the beauty of Nature’s design. These plucked builds over the drone in combination with the cello melodies was something I had envisioned from the very beginning of the project, but I didn’t get to edit it all together until one afternoon before our first tech runthrough. It occured to me at some point (before I recorded it) that these textures would end up being very reminiscent of the harp and orchestra builds found in John Luther Adams’ monumental 2013 orchestral work “Become Ocean“. After this revelation, I chose not to run away from the idea, but instead to run faster towards it. How perfect was this similarity to a piece that is also about Climate Change! Now it could be my little homage to this great work and to what it represents.

Close to the 14 minute mark we have the entrance of Humankind, with a very questioning melody, in tension with the droning world around it. Our questions and self awareness stirring us in directions that would ultimately separate us out from the rest of the animal & plant kingdoms, though by our own fabrications. At 19 minutes we have another bubbling guzheng build, nature reminds us of it’s beauty and power in answer to our questions and teaches us. Shortly after (about 22:40) humankind rebuttals with the emergence of Industrialization, looking to its own intellect for answers instead. The ominous, dark horn and strings chord brings with it pollution and the start of our Climate Crisis. At 22:30 we hear our first electricity zings, further advancing our technological transformations. Our new melody that begins around 23 minutes is mechanical sounding, repeating the same note again and again like a factory line and ending in a rising siren sound. At 26:25 with the final siren rise, we have been warned, Modern war has arrived. After 27 minutes there is more agitation in the environment, we continue changing the earth for what we think we need, while ignoring what it needs. Take, take, take.

Around 28:30, the “mourning dove” melody appears. It’s beautiful and sad. We are seeing the wonderful benefits of modern medicine and technology in our societies, but we are starting to understand the cost of our developments, and what effect we are having on the earth. Some mourn, some ignore. 31:20 we are out of sync with the earth and what it needs, we are trying to sync up our priorities. Left vs Right vs Left vs Right vs Left vs Right. But eventually these sides come together to create a beautiful swell into a singular moment of understanding at 33:05, and finally we are working together.

With the entrance of the flutes at our moment of unity, we have a light shining hope on us. Maybe, just maybe we can use all of our technological advances to help solve the problem we have created. For the next few minutes there are two futures brewing, one of beautiful hope and one of ugly conflict.

It leads us into the beginning of the end of the piece. At 35 minutes we have once again the swelling chords of humankind in the strings and horns signifying our present time. They are not as ominous as the first industrial chords, there is more beauty and complexity here. Placed in a crucial moment, we must make the choice to finally act in reversing our damages and changing our ways to preserve our planet… or to send ourselves on a path to final extinction, taking everything else down with us. The final cadence at 37 minutes lingers on an unresolved note, what choice will we make?

At 38 minutes, the earth is left resonating, but the glaciers are gone.

John Luther Adams “Become Ocean” performed by the Bergen Philharmonic Orchestra

Album Credits

Brian Grimm – Violoncello, Sarangicello, Guzheng
Greg Smith – Concert Flute, Alto Flute
Composed, Performed, Recorded, Mixed, & Mastered by Brian Grimm
2022 (c) & (p) GrimmusiK Records

album art by Nik Garvoille

Donate to TAP here to support more exciting theater in Door County:

Brian used Jargar Superior GC and Superior Dolce AD strings on his cello for this album.
Sarangicello was tuned cgad’ for these compositions, using gut strings.

“Before the 19th” (React Theater) Original Soundtrack Release with a Message to Vote!!

Original Score composed, performed and recorded for React (Indianapolis, IN) filmed production of “Before the 19th” written and directed by Georgeanna Smith Wade.

Please DONATE to React and support this amazing youth theater organization that is giving young people a creative voice and starting community dialogs around important social issues through their original art:

“Before the 19th” Epilogue (excerpt) – high school youth actors from React giving historical context about who was included and who was excluded in the 19th Amendment.

From Georgeanna (playwright & director),

“Before the 19th” began in a room of 15-ish high school students who had gathered to create a mystery about . .. something. That was all we knew. In the end, we created a fictional piece set in 1904 where a group of society young women debate the issue of equal voting rights. It originally premiered in January of 2017, right after the 2016 presidential election. One of the actresses stood on the stage with tears in her eyes and said that she had voted for the first time that previous November while archival footage played of women voting throughout history. That moment cemented what I have always loved about storytelling: it’s an honor to give voice to someone’s story. I’ve voted in every election I could since directing this show. I trust the cast members will do the same. I’m forever grateful to the people who worked for women’s rights to vote, and may we all ensure that access to all our citizens.”

Notes on the Score

When I started working on this project, I knew that I wanted to include a composition by a female composer and hopefully one who had ties to equal rights in voting. Naturally, I turned to a good friend Dr. Emma Cifrino, DMA (UW-Madison) who has specialized in researching a number British women composers who were in their prime during the late 1800s through the early 1900s. Dr. Cifrino suggested that I look into Ethel Smyth, an English composer who could have been straight out of Before the 19th‘s “Ladies League of Arts and Culture”. Not only was Ethel well studied as a composer, a member of these sorts of Women’s Arts Societies, and the first woman to have an Opera staged at the MET (in 1903), she was also a suffragette! Lo and behold, Smyth even had a piece called “The March of the Women” that she composed to celebrate the release of suffragettes from jail (and conducted it once from a jail cell)!

The first half of Track 26 “Epilogue” is an arrangement of this suffragette anthem, “The March of the Women” (1910) composed by Ethel Smyth (with lyrics by Cicely Hamilton). In the second half of the arrangement, I meld the March of the Women theme with the La Folia chord progression and it’s triple meter, which is in contrast to the march’s big two feel. This La Folia material appears throughout the score representing the Ladies League Theme, progress, and hope for the future. As the arrangement shifts, it becomes a sort of “La Folia variations on a theme of March of the Women”, crescendoing to the end with the conviction of progress made but with the understanding and determination that there’s work yet to be done.

To contact Dr. Cifrino about her research, email: cifrino[at]wisc.edu

Other writeups and info about “the March of the Women”:
1) en.wikipedia.org/wiki/The_March_of_the_Women
2) blogs.loc.gov/music/2022/03/ethel-smyth-and-the-march-of-the-women/
3) blackbird.vcu.edu/v17n1/gallery/1917-suffrage/e-smyth.shtml
4) www.classical-music.com/features/works/how-ethel-smyths-march-of-the-women-womens-suffrage-anthem/  

One way to support women composers and performers is to DONATE to the LunArt Festival based out of Madison, WI:


Our Democracy is on the line. We’re in an unprecedented time of out of control political conspiracy theories, violence, lies and election denial – because of this, I urge you all to vote!! Before the 19th had its premiere around the 100th anniversary of the 19th Amendment being passed into law. Now a century later women’s rights have been rolled back, it’s more important than ever to show up to the polls and vote for your local representatives who support women! Generations of women fought long and hard for the right to vote and we owe it to them to exercise our democratic action; especially for those who have a voice (like the youth participating in React) but cannot yet express their views at the polls. Their future depends our our decisions today! May they be sound, sane decisions, rooted in reality. Stand up for truth & vote in support of women rights!

*The views expressed on this site are my own and do not represent or speak on behalf of React *

Some other tidbits about the Score

The original stage production was scored with music from DJ Spooky’s “Rebirth of a Nation” featuring the Kronos Quartet. That visual arts project & album was really unique especially for the mid 2000s. Remixologist DJ Spooky was taking the silent KKK propaganda film, Birth of a Nation and flipping it on its head 100 years later. DJ Spooky remixed the visuals from that silent film live accompanied by both pre-recorded and remixed compositions for Kronos Quartet mixed with them also playing live to help score this re-envisioned tableau. So when Georgeanna asked me to compose a replacement score for the filmed version, there was one caveat: they’d already filmed the choreographed movement sequences to the DJ Spooky soundtrack… So I had to stay in the same tempo, same orchestration style and same musical key in order for it all to match up with the dancing & movement on film and of course to stay true to the original vibe that everyone was used to. At minimum I needed to be a string quartet, at maximum I needed to be an orchestra. I spent some time studying the raw musical elements behind Rebirth of a Nation (ex. key of C minor, certain note patterns, the rhythmic intensity, the tempo, etc) and ended up re-mixing that material. The trick was to compose something similar enough to replace it while also sounding enough like me that I didn’t feel like I was simply biting someone’s material or infringing on copyrights… I treated it as sort of a theme and variations on the basic concepts and continued to spin the web further and further as the project developed. It tickled me that I was remixing a remix – something I feel that DJ Spooky would approve of!

I also wanted to source something from the Classical Music world to match the atmosphere of The Ladies League of Art and Culture, so I set my sights on the La Folia chord progression. This has been a long lived musical playground for Western composers over the last 400 years. Being in this “remix mindset” I knew I could leverage the flexibility of the La Folia theme and variations to round out the voice of these compositions and infuse it with some other source material. The result is a heavy Baroque style throughout the score. I am using both my standard cello (sometimes with steel, sometimes with gut) and my sarangicello (with gut) to get a big ensemble blend. The sarangicello has the same top two strings as the bass viol da gamba, although it sounds a little more like a tenor viol and it sits within in that range. Those impressions of viola da gamba further helped in exploring the Baroque La Folia flavors.

I also wanted to include an instrument that showed the Ladies League of Art and Culture dedication to preservation of American Cultural Heritage. The instrument I chose to help represent the leagues historical arts interest was the Glass Harmonica invented by Benjamin Franklin in 1761. It has a dreamy quality, but when you listen closely to the texture it can be a little harsh sounding too, that complexity drew me in. Incredibly difficult to play, requiring a delicate technique – it’s the type of instrument which requires absolute dedication and perseverance in order to create beauty. Qualities I thought would resonate with such an arts league.

It was a lot of multi-tracking, but I had a blast making this soundtrack and I hope you enjoy the end result. → now go vote!!!

Album Credits

Violoncello, Sarangicello, Guqin zither & Production by Brian Grimm
Composed, Performed, Recorded, Mixed, & Mastered by Brian Grimm
(c) 2022 Brian Charles Grimm
(p) GrimmusiK Records

Track 26 includes an arrangement of “March of the Women” composed by Ethel Smyth in 1910

Play Written and Directed by Georgeanna Smith Wade
Film Directed by Glenn Pratt
Film Edited by Jaytel Provence
Costumes Designed by Beck Jones
Produced by Justin Wade and React