The brainstorm touches upon projection, which is, obviously, a large subject in our production – we’d like to translate a couple of principles or elements established by Robertson in his ghost shows to a 21st Century theatre setting. The question is, once more, how will the music interact with the images? And vice versa. To what extent will the image illustrate the music? And vice versa. Shall we stay with analogue projection and lighting techniques, in line with Robertson? (Possible obstacles: the strength of the lantern, the lenses and the mirrors). Or shall we opt for a hybrid of analogue and digital techniques? Go for digital only?

Last issue: the scenography. We explore several radical thoughts. How can we get away from the classical concert setup, with musicians sitting in a half circle across the stage? Could we create a box in a box? With musicians sitting under a stage where all kinds of things happen? We think about bringing stuffed animals on the scene. Or a live bull. When we watch a moodboard, we reach the temporary conclusion of creating a magic forest, with real trees perhaps, that allow for all kinds of wonders.

Main question is, how can we submerge a 2017 audience into an ancient world of folk and old worldly entertainment and translate all that to today? Just like we aim to do with the music, blending the old with the new.

Another certainty we hit upon is that nobody in the team can take further steps without content. The musical direction needs to be established, as well as the lyrical contents or, at leastn, the themes. It determines all the other aspects in the show, ligting, scenography, projection,… That remains the biggest knot to untie, for now.