Scarlett’s Room

Dancer/ Choreographer Yvonne Ng Peck Wan approached me to compose music for a dance.

“What kind of music do you want?”

“I don’t know you’re the composer.”

If only that was true. So I made some music and I added some whacked out sections and played it to her then counted the seconds before she would freak out.

“No no no I didn’t mean like that. Could you do it more like ….”

But she didn’t do that. Did she really enjoy (or at least not mind) me using snippets from my answering machine along with sped up whale cries mixed with harpsichord through a bass amplifier?

I called dancer musician friend John Oswald and explained my confusion.

“The dance world is often run by women and it’s not competitive the way men communicate in business” he said, “you’re the composer she just expects you to make the music, whatever that is – you’re the composer, she means it.”

Unique having that sort of freedom from Yvonne. Only once in 30 years did I work with someone like that, Susan Cavan – the producer of Kids In The Hall, hired me to score a CBC sitcom because she liked one of my songs used in a film she saw by chance at the Bloor cinema.




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