- Derek Strahan
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This drama is intended primarily as a music drama and, more specifically, as an operetta, as it contains passages of very quick dialogue that are written to be spoken, not sung. I would compose music underscore for these in an operetta version. The dramas could also be staged a "straight" spoken play, with some specific musical episodes. Given the convergence that has taken place in media it is imperative that a writer takes a flexible attitude to the question of use in respect of a dramatic product. I have written "Takeover" with explicit indications of musical content, and where specific solo of choral passages would be scored. There are scenes of high drama, and there are scenes of satiric intent where a touch of vaudeville is suggested. The dialogue is mostly in free verse, but there are two comedic episodes where the words are rhymed. There is also an element of fantasy. The character John doubles as a kind of Greek chorus, offering observations on events with a degree of irony, and commenting on how he relates to Anna and to society. In these moments, which are in the form of soliloquies/arias there is a element of quantum distancing which takes over completely in the final scenes, where Anna's fate is left unknown.Anna is a journalist. She is involved with three men. Bernard represents old money. His family owns an established media empire. Ivan represents new money. He is a corporate raider. John represents no money. He is a composer, currently commissioned to write a Wedding March for socialites, Roger and Clara. Anna is currently living with John, but their life styles differs, and after meeting Ivan at a press conference she leaves John to live with Ivan. After a month she leaves Ivan because she finds him too controlling. She briefly returns to John. In describing her experiences she passes on confidential information about Ivan's future financial plans. She also passes these on to several socialites including Bernard who has approached her privately.
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