Part 9 of our continuing blog about the composition of Luke Bedford's opera Through His Teeth.
Did you start with scene 1 and work your way towards the last scene? How did you start writing?
I haven’t written the piece in chronological order at all, I didn’t start with scene 1 and finish with scene 10. I started at scene 9 I think, then I went to scene 2, then scene 1, and, having set those almost sort of boundaries of the piece, I then started kind of connecting the ones in the middle.
Also I kind of focused on what seemed to me the more important scenes. Obviously every scene is important in its own way, but some scenes are bigger sort of structural moments, or simply just longer. And I wanted to get some of those bigger ones out of the way earlier in the piece, so that if things became tight, at the end of the writing process, I wouldn’t be working on the very key moments, they’d already be done – so that was almost like my insurance policy.
Could you give us examples of such scenes?
One of the crucial scenes is obviously the first time A and R meet, as that scene establishes their relationship. Then there’s a scene in a restaurant where it looks like A is going to leave him, and you have to see his ingenuity, he has to come up with some reason why she can’t, and he has to do it very quickly. And he tells a huge lie basically, an almost unbelievable lie. But he does it in such a way, that if she doubted him, she would think “Well, this guy must be mad, why would he say this to me?” So she is in a way forced to believe him.