Music in 2 SuitCases is a living, breathing force that carries the story forward. We spoke with composers Peter, Anup, and Adi about how they shaped the show’s musical language through close collaboration with the creative team, deep emotional resonance, and a blend of Eastern and Western influences. Their words reveal how music becomes the pulse of the performance.
What inspired the musical language of this show?
Peter: My compositions were heavily inspired by the music used for the dances. I am hoping to capture the nature of a recitative play in a traditional Western musical or opera. This is achieved by referencing parts of the dance music to set the stage for a more free-form way of singing/speaking. Thereby providing more space for the actor to take control of the emotional movement.
Anup: The story showcases modern-day dynamics between an immigrant couple and how it ties back to an old, similar story. We took this as an opportunity to have music weave around the storyline and help storytelling move forward.
Did you compose with specific movement or emotion in mind, or did the movement follow the score?
Peter: For my section, I am writing music to enhance the poetry of the spoken word. This form of art uses poetry to evoke emotion and highlight moments of confusion, despair, and hope. By further echoing and enhancing poetry with the art of music, I am aiming to make the experience more potent for the audience.
How closely did you work with the choreographer and director to shape musical timing and dynamics?
Peter: Divya and I worked together to ensure that the integrity of her vision was being upheld. Luckily, she writes with such a clear vision in mind that it wasn’t tough for me to see what she was looking to convey.
Adi: I worked very closely with both the choreographers and the directors. From the early stages, we had ongoing conversations about pacing, tone, and emotional beats. It was a very collaborative and iterative process. I’d share drafts, they’d respond with feedback, and we’d build on each other’s instincts.
Were there adjustments made to the music during rehearsals based on how the choreography developed?
Peter: When Anjali and I get together, the song takes on a new form. The beauty of writing for a particular singer is that, in a way, the song becomes theirs as well. The goal of any songwriter is that the song sounds like something that could naturally resonate with and for the character. Almost as if the spirit of the emotion they’re dealing with has nowhere to go but into the air as a sweet melody.
Adi: As of writing this, it is still too early to tell, but I am sure there will be tweaks and edits! Rehearsals reveal so much, like which moments need more space to breathe or where transitions feel rushed.
How do you ensure your music enhances the storytelling without overpowering it?
Peter: In this setting, I think music is at its best when it moves in response to the actor/singer. The music doesn’t force the character into a new emotion or way of thinking; the character’s thoughts and feelings drag the music in a new direction. In this composition, the music sometimes helps smooth over and slow down drastic shifts from despair to hope and back to despair, but the music here doesn’t send the character one way or the other.
Anup: We have tried to keep the beats pretty light to go with the chord progressions that Peter has composed. We have also tried to incorporate Tabla to reconnect to the Indian roots of the story..
Adi: I like to think of this music as a current. It is something that flows underneath and carries the story forward rather than crashing over it. I try my best to pay close attention to dynamics, texture, and silence. Leaving space is just as important as filling it.
Were there any technical or emotional challenges in composing for dance specifically?
Peter: We were shorter on time than I would have liked, but oftentimes new forms of art thrive at the 11th hour. It’s great that we have such an adaptable and dedicated team that continues chasing the spirit of this show.
What do you hope audiences feel or reflect on when they hear your words or music?
Peter: In my experience, people who are struggling to make sense of manipulative or abusive situations will often adopt and portray the persona of someone who’s doing well or even thriving. I hope that people watching will see how Hansaben’s sense of hope in the face of fear and abuse is a beautiful thing, but equally beautiful is her journey facing the reality of her situation and finding she has a strong enough voice to shatter the fantasy her husband uses to imprison her.
Anup: Hoping that the mellow live music and beats gel with the monologues and take the story telling a notch up and hit the right notes with the audience
Adi: I hope they feel something honest, whether it’s a quiet ache, a moment of joy, or even just curiosity. I want the music to act like a mirror, inviting the audience to connect the emotion on stage to something personal. If it helps them sit with a feeling a little longer, or see something from a new angle, that’s more than enough for me.
How does your work support the show’s emotional or thematic arc?
Peter: This show deals with complex emotions like love and hate, hope and despair, reality and fantasy, all inhabiting the same moment. I think music excels at evoking feelings which can’t be put into words, and when characters’ emotions, like Hansaben’s, find a melody they resonate with, they can’t help but yell out into song.
What does this show say about the power of interdisciplinary storytelling?
Peter: The challenges of life are often a mystery, and oftentimes, despite our best efforts, we just can’t seem to find a solution. Through art, in its many mediums, however, we are invited to dwell for a time with ourselves, our thoughts, and each other. The variety allows us to see things from different vantage points, giving us a more accurate and salient picture.