Theatre::Playing for Time

Playing for Time is a show that focuses on the French singer Fania Fenelon and her time spent in the concentration camp at Auschwitz/Birkenau. The play examines her memories of the women's orchestra that she assembled at the behest of the camp's officers.

Top of Show
This cue takes us from the sleeping dream world of Fania Fenelon, through her years singing in cabaret, into the depths of her memories of the concentration camps.

This was the first of many transition cues, this one led specifically to the cutting of all of the womenÕs hair.

Transition #1
The director wanted all of the transitions to be musical, but not music. For a couple of the transitions I experimented with the sound of instruments tuning as my sound source, and worked from there.

Transition #2
Similar to the last transition, this one used the sound of a cellist warming up juxtaposed with a threatening factory environment.

Transition #3
Another transition cue that played with the idea of the malleability of time, using the tuning violin again as a sound source.

Transition #4
This took us from the world of the rehearsal in which the ragtag ensemble is struggling to plod through the Light Cavalry Overture by Franz Von Suppe. As we blacked out into the transition, I used this cue to show that this music is the only thing keeping these women together, though it was marginal at best, it was the only beauty they had.