London Philharmonic Orchestra
In June 2018, Hydrocracker partnered with the London Philharmonic Orchestra and East Sussex Music for a Spotlight Day exploring the connections between site-specific and immersive theatre and music. Hydrocracker Associate Director Nathan Crossan-Smith co-led with composer Rachel Leach, alongside LPO musicians.
No text, no actors, just music.
The day was a real success, with young musicians taking on and running with key immersive theatre principles, focusing on audience shapes, sites, audience interaction and audience and performer movement.
A twenty strong ensemble came together at Priory School in Lewes for the day, with players ranging from percussionists to flute and clarinet through to violins (acoustic and electric!), 'cellos and electric guitars.
In the morning we excavated and responded musically to the history of Sussex Downs College as a site, exploring the Battle of Lewes and the stories of soldiers hiding out in Lewes Priory (right next to the college) with Henry III, along with the many who drowned in the Ouse. Using Olivia Laing’s To the River as a source text, participants created a musical landscape that evoked place and melodies shared interactively with audiences gesturing towards the drama being evoked, along with military rhythms and brass fanfare.
In the afternoon we imagined the story of what might happen in the site’s future, setting our scenes in 2119 in a dystopian, post-climate-disaster South Coast. We explored sonically what daily tasks might sound like in this harsh environment and how to voice - musically - an unlikely leader emerging with ideas about how the community might live together. The participants created three short performances in outdoor locations on the site, playing instruments with extended playing techniques and exploring a modern, discordant sound world.
We were really excited to collaborate with local young musicians and a world-class orchestra. For Hydrocracker, this was a thrilling day of sharing practice, exploring locally rooted stories and leaving with new ideas about how we might work immersively with music in the future.
Nathan Crossan-Smith December 2018