Interview: Olivier-Nominated LIFE OF PI Composer Andrew T. Mackay on Discovering the Show's Sound

The Olivier Award-winning Life of Pi, which originally opened in the West End, is now coming to life on Broadway every night at the Gerald Schoenfeld Theatre. Lolita Chakrabarti's stage adaptation of Yann Martel's best-selling novel, follows sixteen-year-old Pi, who is stranded on a lifeboat in the middle of the Pacific Ocean with four other survivors: a hyena, a zebra, an orangutan, and a Royal Bengal tiger.

The production features over 1.5 hours of original music written by composer Andrew T. Mackay, who received an Olivier nomination for his work.

BroadwayWorld spoke with Mackay about his process of discovering the sound for the show, bringing nature to life on stage, how he feels about Life of Pi's Broadway premiere and more.

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What were your first thoughts when you learned that you would be composing the score for Life of Pi?

My first thoughts were a combination of amazement and disbelief! The opportunity to score this amazing play actually came about in a most unexpected way. I always say 'Never despise the days of small beginnings'... Some years back, as well as composing music, I taught piano to children in London - usually after school. You often build special bonds with the children and their families, and I stay in touch with them. I had just finished scoring a film in Mumbai and was back in London for a prospective music gig but the conversation didn't go the way I'd hoped!

I was walking through Leicester Square contemplating the conversation when my phone beeped and there was this text from the wonderful actor Rhashan Stone, the father of two of my former pupils. I remember it so distinctly, it was a cold, cold London day. He messaged me about a major new production of Life of Pi which his very dear friend Lolita Chakrabarti had written and that they were looking for a composer and would I be interested? I tried to play calm but I was pretty excited, and suddenly the day didn't seem so cold after all. The next day I found myself at the Curzon Cinema in London's West End having a coffee with both Lolita and Max Webster, the director, and the rest as they say, is history!

I would love to hear about your creative process! Can you tell me how you approached discovering and building the sound for this show?

My director Max Webster has an amazing musical mind and we had a few sessions exchanging ideas, and he gave me some good steering but also left me to my own imagination. Story is everything for me as a composer and I need to imagine first in my head what I would hear as I read the script and how the story and journey of Pi unfolds and evolves. The first thing I do is to try find a sound palette, almost like a palette of colour. The themes, and instruments that I intend to use through the play. With Life of Pi, there are three distinct emotional as well as physical elements to the play's music.

One is the family time in India (the zoo and market) and Pi's ties to his home on his incredible, and at times harrowing, journey - this features the Bansuri (Indian flute) and Indian percussion. Second is the large dramatic orchestral elements when he is fighting for survival - this has more large cinematic orchestral accompaniment where I've recorded live string orchestra and used powerful brass and orchestral percussion. And lastly the moments of relative calm where Pi is often at his weakest but also the most spiritual. Particularly where he is reflecting on his life, family and his determined attitude of survival. This is more, what I call, ambient, dreamlike with layers of electronically created sounds, chordal string orchestra and ambient effects. This was my three point plan which enabled me to write thematically and dramatically.

What was the rehearsal process like for you, having the opportunity to see the work being created in front of you and allowing that to influence your work?

Being my first ever foray into theatre I was not well versed in writing for theatre or the process or if indeed there is one. I approached it as if I was writing for film. The score is very cinematic and does rely on film type orchestrations, drama, plenty of light and shade as well as moments of silence - (for me one of the most important things about music). The rehearsal process was so incredible and very crucial in my writing, and I spent a lot of time in the room with my mobile studio set up working on headphones, creating music while I watched the scenes and action unfolding.

I would then play the music to the director, creative team and the actors and often we'd drop it into the scene and see if it worked. It was a wonderful process of getting feedback on my compositions and to guide the score on its best possible path. I was able to manipulate my music to the changes and nuances to the scenes the actors were creating. And that was a very rewarding process.

The show features many animals, and it takes place on the water. I'm curious about how you went about taking the sounds of nature and translating that into music.

Now that's a great question! I was always aware of what our wonderful sound designer Carolyn Downing was creating in the natural world space. Real sounds to depict the location and the environment. Working in tandem was crucial so that my music could sit well with her sound design and soundscapes. Writing for nature is something so beautiful. Music is inspired so much by nature so the inspiration is sitting in front of your very eyes. Writing to depict a Bengal Tiger, a turtle, balletic fish - how great is that? So my approach was to give a musical impression of nature that sat alongside the natural sounds, giving space to the real waves, lapping of water, roars of the tiger and other animals as well as the sound of rain but at the same time implying that through music.

What did it feel like to be nominated for the Olivier for Best Original Score or New Orchestrations?

How many adjectives can I use? Euphoric probably sums it up, but also stunned and grateful, blessed and bemused. I was nominated with some exceptional talent so I was very honoured to be in such royal company!

How do you feel now that Life of Pi has made its way over to Broadway?

This goes back to your first question and I think of the seemingly 'small beginning' we had in Sheffield where the play was first developed. It was wonderful to do and I knew there was something very special about the play, but I had no idea the journey it would take us all on. It's been a wonderful journey via the West-End in London to opening on Broadway. The support and friendships that have evolved have been vast. Ending up on Broadway is something that could not be imagined. So, walking to the theatre each morning for production meetings and previews was a joy and a dream. Seeing the hoardings and advertising spread across the city was amazing! The Schoenfeld has a wonderful team on the Front of House and the stage door. It always matters who you first meet coming into the theatre whether you are a creative or the public.

Do you have any final thoughts you'd like to share?

This long journey called life is littered with missed opportunities, but I am grateful for the chance to be part of such a life changing show, opening me to a world of theatre with such dear people. I'm always grateful to the press and public for being so supportive and encouraging the arts.

Listen to the score here: https://orcd.co/lifeofpi

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