Playwright & Librettist Mike Stang
Playwright, Educator & Director of the Dramatists Guild Institute Gary Garrison
Playwright, Librettist & Producer Amanda Rogers
Playwright & Librettist Ed Levy
Poet, Visual Artist & Musician Guy Kettelhack
Colonial Theatre (Keene, NH) Director of Education & Outreach Vicky Pittman
I’ve now worked with Roland on three different exchange projects. Corralling directors and writers in the same room can often be much like a High School assembly (and just as combustible). Yet, Roland’s leadership, preparation, insight and sense of humor have made every event not just delightful to be a part of, but incredibly productive for all, resulting in the initiation of numerous projects and creative alliances. He’s a muse, and a well organized, charismatic one at that.
I was privileged to play violin as part of the trio of violin, bassoon and piano for which Roland Tec composed the musical accompaniment to his extraordinary THE CURSE OF BATVIA. Playing Roland Tec’s music is a deep delight. I’d never had the pleasure of duetting with a bassoon before — whose haunting throatiness mixed so alluringly with the songful violin that it recalled Gene Kelly and Judy Garland singing together — high praise from me. Claret drunk in a Slavic mist. It was genius come up with the mix of those two instruments — a mix of sounds which as far as I know is unprecedented. Just as alluring were the modal harmonies — Slavic, faintly Hebraic, tugging at the heart & the groin. This is real music. There are depths here that insist on attention. Indeed I’ve pleaded with Roland to write a chamber piece for violin and bassoon and piano - or for anything else! I can think of no greater service than to make it possible for him to give us more, more and more. I will continue to hound him for more, but really the whole world should.
In putting together our first NYC reading of The Splot, I was hearing a lot of feedback, much of it contradictory on all sorts of elements — music, lyrics, book structure. Roland Tec was the one person who helped me take a step back, breathe, giving me the space I needed to honestly see that there were elements of the piece which I loved and did not want to jettison. His experienced ear and sensitivity were invaluable to me.
When I was developing my short film, TANGO OCTEGANARIO, I met with Roland Tec to discuss the possibility of him composing music for it. I shared some examples of music I loved by Argentine tango composer Astor Piazzolla to give him a flavor for what I was imagining. Instead of trying to imitate the sound of Piazzolla, Roland called upon his experience as a film producer to encourage me to pursue obtaining the rights to the actual music already in my head. I credit Roland with that important choice, which really proved key to giving the film its unique flavor.