It’s always great to hear new work from old friends and this week’s no exception with Patrick Dineen’s launch of his new album, We Never Close.
Patrick has had a rich and varied career to date, beginning with when he was vocalist and songwriter for the band Kan Kan known for its theatricality. He then began writing scores for fringe theatre eventually becoming Composer-in-Residence at The Liverpool Playhouse. His songs and scores led to him being invited to join Stephen Sondheim’s Master Class In Music-Theatre at Oxford University University, an experience which has never left him.
This was followed by writing many scores for theatre productions both in the UK and Internationally. His work as a composer also includes many scores for radio and TV, contemporary dance aerial theatre and independent film. He has also toured original music-led productions combining elements of cabaret, fairy tale and political fable
We Never Close is his latest solo album and bears his signature love of dark humour, passion, theatricality and songs that tell a story. It also bears his signature arrangements, combining the quirky with the heartfelt and a nod to the era of Weimar Cabaret,
We Never Close is on sale on bandcamp, here. If you like the album, please become a follower for future updates and bonus music through his website.
Theatre and Performance
Dineen’s contributions to theatre are notable for their emotional depth and innovative integration of music. His work on When the Birds Sang, a dance-theatre collaboration with Theatre Hullabaloo, showcased his ability to translate natural movements into musical motifs. By observing the behaviors of birds, he crafted a score that mirrored their elegance and unpredictability, using instruments like clarinet and xylophone to represent different aspects of the characters’ journeys.
In Pinocchio at Hull Truck Theatre, Dineen’s compositions contributed to a vibrant and engaging production that resonated with audiences of all ages, blending traditional storytelling with contemporary musical elements .
Discography Highlights
Dineen’s discography reflects his theatrical roots and storytelling prowess. Notable works include:
- Rumpelstiltskin (2023): A musical adaptation of the classic fairy tale, featuring a blend of dark cabaret and electronic elements that bring the story to life.
- My Clockwork Heart (2018): An album that combines emotive melodies with intricate arrangements, showcasing Dineen’s versatility as a composer.
- Music for Stories, Vol. One (2018): A collection of compositions designed to accompany storytelling, highlighting his skill in creating atmospheric soundscapes.
- Love in Vain (2010): A track that exemplifies Dineen’s ability to convey deep emotion through minimalist musical expression .
Artistic Style and Influence
Dineen’s work is characterised by its fusion of theatricality and musical innovation. He often draws inspiration from folklore and fairy tales, infusing them with modern sensibilities and dark humor. His compositions are known for their emotional resonance, often employing a mix of classical instrumentation and contemporary sounds to create immersive experiences. Beyond his compositions, Dineen has been involved in various community projects, producing sound pieces that engage participants in the creative process. His commitment to storytelling and community engagement underscores his belief in the transformative power of music and theatre.
Going Way Back When…
Patrick and I worked together on several productions way back when. The most memorable was probably our adaption of Carl Orff’s Carmina Burana, produced in 1993 in partnership with VisionFest and the Royal Liverpool Philharmonic Orchestra, in the dying days of one of the many iterations of The Liverpool Everyman Theatre.
Suitably enough, we set the adaptation around the dying days of an old man who was reimaginging his life which added a certain piquancy to the proceedings. As the theatre moved into liquidation, its chairman fought back: “Some people want a theatre for social engineering. They want a theatre for the unemployed, one specialising in dealing with various cultural entities. That runs contrary to the purpose of this theatre. Community Theatre is the new jargon word for amateur. We want to run exciting theatre for theatre’s sake.” Well, our adaptation was neither just amateur nor community nor professional but thrilling it certainly was. The only disappointment in hindsight was that we didn’t collect the range of quality of digital assets we would have been able to do these days: but perhaps the fact that the show still lingers in our memories is good enough.
Has the debate about community theatre vs ‘professional theatre’ moved? We thought it might have done by now but recent comments in the press make us wonder whether there is another backlash waiting in the wings.
