The Orpheus Project by Music on Main starts tomorrow at The Cultch! This musical adventure will take you to every corner of The Cultch for an immersive, site-specific experience. The fantastic creator of this unique piece, David Pay, shared with us his inspirations, the context of the show, as well as his own experience working on it.
What was the inspiration for The Orpheus Project?
The idea first came about when, at the Holland Festival in Amsterdam, I saw dreamthinkspeak’s Before I sleep, which was inspired by Chekhov’s The Cherry Orchard. You explore an entire building and see theatrical installations and interact with actors. I thought it was totally magical, and when I fall in love with art I want to possess it. When I see exceptional visual art I want to see it all the time. When I see amazing music I want to figure out how to present it. So when I saw Before I sleep, I thought, “How could this work, using music as the basis of an immersive experience rather than theatre?” Once I decided I wanted to develop an immersive musical experience, I really focused on seeing as much of that kind of work as I could, including large-scale works like Sleep No More, and smaller scale works that are more in line with The Orpheus Project.
How does that kind of experience translate into a musical one?
I explored a whole bunch of different ways to create an immersive musical experience, and with our ace creativity team, led by theatrical consultant Amiel Gladstone, we have landed on what theatre calls a “promenade experience.” Audiences are led on a path through the theatre discovering different rooms; different pieces of music inspired by Orpheus; installations and sets created by Naomi Sider; video, both with music and on its own; lighting by Adrian Muir; and new and existing compositions performed in surprising environments.
Can you give us a little hint of what people will see and where they’ll go?
We’re using both the Culture Lab and Historic Theatre at The Cultch; we’re exploring dressing rooms and stairwells; filling passageways with surprises, lounges with live performance. It is a show where the audience is on its feet, climbing stairs, stopping to listen. Keep an eye out for oracles, who might foretell your future as well. People should make sure to wear comfortable shoes! We’re asking people with mobility or other issues to let us know in advance, so we can create a special journey just for them.
What have you learned by being involved in the creative process for The Orpheus Project?
Conceiving The Orpheus Project is a natural progression for me. I’ve never been the kind of music presenter who simply chooses great artists and puts them on stage. I’ve always taken a hands-on approach to the performance environment, the relationship between artists and audiences, and how repertoire can speak to us across time periods and genres. Developing The Orpheus Project as a more theatrical music experience has allowed me to work with theatre experts who are helping me shape what feels like a new, but really authentic way of interacting with live music.
What do you hope people will take away from this experience?
I hope this will be a fun, intriguing, and new experience for every audience member. My ultimate goal is that we each see ourselves in the myths and stories and ideas presented by the composers. I think if you approach the show with an intellectual or analytical bent, you’ll have a really rich experience imbued with music and art history. But the creative team and I also want this to be a really fun, sexy date night, so you can just immerse yourself in the sights and sounds at the theatre, and that will be a fantastic experience, too.