Unrealized design completed as a final project for Advanced Sound Design at Ithaca College, taught by Don Tindall.
Unrealized design completed as a final project for Advanced Sound Design at Ithaca College, taught by Don Tindall.
Marisol is absurdist theatre and is therefore, I think, both more difficult to explain and more interesting to attempt. There are themes of personal identity/loss of identity, mental illness, racism, late stage capitalism, misogyny and violence, and faith. However, the main idea of this play is the need for humanity to seize control of their own destiny and choose to care, no matter how hard it seems.
In heaven, God has become senile and is neglecting his creations, leading to the absence of the moon, the extinction of apples, coffee, etc., and general mayhem and sin. On earth, late stage capitalism mirrors the situation; CitiBank has as set up a torture center where people who go over their credit card limit are “violated” and it employs Nazis to light homeless people on fire in Van Cortland Park. The guardian angels–the last line of defense from total anarchy–leave earth to usurp God and leave humankind defenseless against themselves.
In the eleventh hour, Marisol brings the heaven and earth together. She implores the homeless, ragged human population to join the war against heaven and help bring about the new world order. With mortal help, the tides of the war turn in favor of the angels. In the last moment of the play, Marisol delivers the first line of the show that embraces the future of the new world rather than longing for the return of the old one: “Oh God. What light. What possibilities. What hope."
"Untitled (It's our pleasure to disgust you)" by Barbara Kruger
This is the song that Marisol sings to herself on page 30.
"Madre que linda noche" is a folk song originating in late 19th-century Spain. The song has had many iterations, since it was passed down orally until versions started becoming copyrighted in the late 1980s. All versions of the song involve a main character, Adela, who has become deathly ill over her love for Juan, who is in love with her friend Dolores. She outright dies in some versions, but in others she remains close to death. In all versions, Juan remains clueless of her love before she dies.
I am very drawn to the intimate acoustic nature of this video. The lyrics are also incredibly thematically relevant, since Adela’s experience somewhat mirrors both Marisol’s and humankind at large’s experience in the world now that God has become senile.
I had my stepbrother Ethan Kuhlken, who is a classical guitar major at UCSC, record a cleaner version of the above piece. This recording became the base for many of my cues, including the "Angelic Aura" and "Beautiful Music".
(See below)
Mother what a beautiful night
so many stars
open the window for me
I want to see them.
No, my daughter, no,
you are sick
and the night's air
does you no good.
If Juan comes to see me
open the door
to contemplate his face
before I die.
No, my daughter, no,
you are sick
and the night's air
does you no good.
If Juan comes to see me
to my room
he will behold my face
pale and cold.
No, my daughter, don't
do not make memories
of a being who already forgets you
your eternal love.
*Headphones recommended
Ethan - Madre que linda noche: The raw track as played by Ethan Kuhlken.
Angelic Aura: The presence of Marisol's guardian angel that plays whenever she is onstage. It is power, ground hum. Created using the above recording.
Transition Citibank MasterCard: Played on a radio.
Bronx Street Pad: This is the new soundscape after the world breaks at the end of act one. It is unsettling. Familiar but also uncanny.
The Veil: What plays as Marisol crosses the veil into death.