"In the next phase, I realized that I wanted to find a story that matched this auditory concept in terms of content. I soon developed a desire to create an epic, layered narrative in which sound is not supportive but decisive. I played with the idea of creating a new mythology: an original narrative constructed from fragments of existing myths—compressed into a pulp fiction in which different traditions and references come together in a unifying way.

An important goal in my work is to develop layered female roles. Not one-dimensional characters, but complex women who doubt, attack, deceive, are ugly, and—despite their intelligence—make stupid, human mistakes. I found this layering difficult to achieve within Greek mythology, where female figures are often limited to stereotypes. So I broadened my search and found the demonic goddess Lamastu in Mesopotamian mythology—an intriguing character who is both destructive and protective and full of contradictory intentions. Lamastu became the starting point for my new mythology: an epic world in which sound, complex female characters, and moral ambiguity come together on stage."

"The soundtracks are used in various ways within the performance. In one scene, we use music to express the inner world of the main character, Holly. Where text would normally fulfill this role, we have deliberately chosen music as a means of expression. In another scene, the soundtrack serves to build tension: the music suggests an impending threat, even before it becomes apparent in the text or action.

What we found intriguing during the creative process was how the relationship between the actors and the music differs each time. In the first example, the actors color along with the music, making their performance an extension of the soundtrack. In the second case, they play against the music, which creates an exciting friction. This is a fundamental difference from film, where music is only added during the editing phase and actors have no direct interaction with the music during the performance. The actors therefore have to be very conscious of what the music is doing and how they can maneuver between it with their acting, or allow themselves to be carried along by the flow of the music."