• Joseph Carter

    I enjoy these kinds of subjects, especially the grim and sometimes offensive to the senses. I’m curious to know if the sound design will include the designs of Tony Schwartz and how he designed his commercials. It sounds like media will play heavily into this performance, but will it help tie this in to our modern day era of politics or stick strictly to the realm of 1964?

    • Hi Joseph, thanks for the comment and question. I wrote DAISY and was involved in the production, so I’m in a position to answer your questions. Yes, the production incorporated Tony’s sound designs, and leaned very much into his theories on sound and commercial design. And although it lived strictly in 1964, the play bore obvious (and intentional) overtones of the current day. During the Summer 2017 production in Seattle, it was impossible to ignore the connections to the Trump / Clinton campaign, and that campaign’s similarities to Johnson / Goldwater.