An extract from an interview with London Pub Theatres with writer/director Dave Bain.
Do you have a process for developing the compositions and the lyrics?
I write the music (and sometimes lyrics) before the script, although I have a rough structure in mind. It avoids the problem of “write sad song here”. Starting from a more subconscious, instinctual place means the songs have a distinct feeling and mood. When I come to write the script, there’s this weird synergy where somehow the songs arrange themselves into the right places.
Because of Covid the writing process got extended. I wrote over twenty songs for this show, and then cherry picked the best ones. Stylistically, the music is quite diverse. Each character has their own style. Sam likes old school musicals, Stats is more electronic, and Aesha likes funky dance music.
I’ve been taking piano more seriously across the last five years (I’m a guitarist by trade), and it’s really improved my songwriting. I’m very proud of the songs in this show – they feel fully formed.
Which are your favourite numbers in the show and why?
My favourite is ONE HAND ON MY SHOULDER – it was another attempt to write a Bond song. It’s quite heavy and acts as the emotional core of the piece. LOST & FOUND mixes lightness with melancholia. I always knew it would be a tap song. The first time I saw Eloise’s (ELOISE JONES) choreography for the chorus I felt emotional – there were tears in my eyes. DANCING WITH YOU was the last song I wrote. It’s a waltz that integrates the dance and music, but also drives the plot forward. I’ve been getting great feedback on the chorus during auditions and rehearsals. I can’t wait to see it work within the context of the entire show.
How does the comedy arise in the show?
The core of the IT support team, Sam & Stats, have been friends for several years, so they have this verbal shorthand. They’re both very smart, and like their banter. Furthermore, when we enter Sam’s imagination, there’s a constant push back from the rest of the cast against his creative ideas. Sadly, Sam is not as good a writer as he thinks; his ideas are half-formed and undeveloped. One of his (own scripted) lines is, “Suddenly, my horse came to a sudden halt” which is bad writing Room 101.