The Music of Middle-Earth: An Interview with Christopher Nightingale
"I didn't set out to pursue a career in music" explains Nightingale. In fact I studied sciences. I did have a musical background - and I went to Cambridge on an organ scholarship – but I took a degree in Natural Sciences. However, it was at Cambridge that I discovered how much I loved the theatre when I became involved with the Footlights, the amateur theatre club at the university. The truth is that I spent a good deal of the time I should have spent with my science books playing the piano with the Footlights, instead."
Actually, Chris Nightingale did far more than just play the piano. He was musical director of the Footlights for three years – and the Footlights was (and is) far more than an "amateur theatre club"; it has provided Britain's professional theatre with some of its brightest talent for more than 120 years.
"Going into the theatre wasn't a conscious choice, but when the opportunity came along, it felt like the right thing to do. After university, I messed around for a bit, playing piano here and there, skiing… and then Richard Brown, who's working with me now on The Lord of the Rings, gave me a job playing piano at the Royal Shakespeare Company. And here I still am, sitting at a piano in a theatre, almost 20 years later."
But even 20 years of theatre experience wasn't quite enough to prepare Chris fully for the proposal he would receive from producer Kevin Wallace.
"I had worked with Kevin before but when he first approached me to ask what I thought of the idea of a stage production of Tolkien's books, possibly a musical, my first reaction - and I think it was our director, Matthew Warchus's as well - was 'You've got to be kidding! The idea is crazy!'
"I found it difficult to imagine The Lord of the Rings as a stage production - the work is so vast - how would you put a thousand pages of text into a theatre? But I found it impossible to imagine it as a musical. How could you find a route in - musically – that could do this work justice, and avoid cliché and cuteness? Frodo singing about how heavy the ring is and how he just can't go on? It seemed to me like a very bad idea.
"Then I looked back at the books. I had forgotten how filled with music they are. Music - both literally and as metaphor - is central to the tale. In The Silmarillion, Tolkien's introduction to his imaginary universe, Middle-earth is called into being in song, and each new act of creation - of Elves, Men, Dwarves - is a new theme in a divine symphony. Evil is introduced into the world as a discordant theme that disrupts the harmony. Musically, perhaps the whole project wasn't such a bad idea, after all. I began to realise that you couldn't actually tell this story without music.
"But what would the music be? It was going to have to be something quite unusual. We certainly weren't going to manage it within the bounds of a conventional 'musical' – it couldn't sound like any Broadway or West End show any of us had ever seen before – and I was grateful to realise that that's not what Kevin Wallace ever had in mind.
"We talked it over and came to an agreement on where to start. Evil - the dark stuff - seemed for us the key to the music of Middle-earth. How do you express this darkness musically? What we wanted most of all was to avoid the obvious - the clichéd stings and chills of horror films. We didn't want something 'scary', but something brooding and visceral - something more Brothers Grimm than Hollywood.
"The breakthrough for us came in a stage production called The Black Rider, by Tom Waits. The interesting title is pure coincidence - believe it or not it has nothing to do with the Black Riders of The Lord of the Rings. Waits' song is from an opera he wrote with the novelist William Burroughs in the early '90s. It wasn't that we wanted to adopt and use The Black Rider, or imitate it, or commission Tom Waits to compose something similar for our score (although we did briefly kick that idea around), but there was a dark and chaotic quality to the piece that clearly revealed how what we wanted to do could be done. Here were tangible ways into music unlike anything we'd heard before on a musical theatre stage.