A stage production where rap doesn't sit outside the play as a soundtrack — it's written into the dramatic structure itself, scored and produced to function as theater, not as a track with a play built around it.
Composing for theater answers to a different discipline than composing for a record. The music has to carry dramatic information — character, stakes, the turn in a scene — not just hold a rhythm, and it has to sit underneath a live performance that changes night to night, never under a fixed vocal take in a booth. Where the play uses rap as part of its own language, the music supporting it has to function as dialogue's structure first, and as a beat second.
Working inside Surya Macgrégor's text meant composing and producing music that served her direction and her characters directly — built to support the actors' live delivery night after night, with the specific kind of exposure a live stage demands and a finished recording never has to answer to.
Composed and produced the original music for "Las Comadres," working within Surya Macgrégor's writing and direction to build a score that functions as part of the production's dramatic structure, not as accompaniment layered on top of it.