A bunch of musicians decide that society is broken, and since music is the blueprint for everything, they set out to make music that models a society they actually want to live in. This is the Rhode Island premiere of the musical “Noise” currently running at the Wilbury Theatre Group in Providence through Dec. 22. The musical is the brainchild of writer/composer César Alvarez and is directed by Dante Green. As the show unravels into a dreamlike explosion of song and dance, the Wilbury Theatre Group does what it does best: invites the audience into a creative role in this immersive theater production. It’s an incisive and joyful new work. A musical-in-the-making. And kind of a party!

I had the golden opportunity to speak with the talented director of “Noise,” Dante Green.

Ida:  What inspired you to bring this particular story to life; what drew you to this project?

Dante: I have had a relationship to this work for about seven years. I first came to the musical as a student of César Alvarez, its creator. I saw the first presentation in NYC. Nine years ago, César became a mentor to me, and I was inspired to work on all his work. Josh Short, the Artistic Director of the Wilbury Theatre Group saw the same production of “Noise” back in 2016, and has wanted to do it at this theater for years. Originally commissioned by The Public Theater and Playwrights Horizons Theater School/NYU, “Noise” made its world premiere in Vermont this summer at the Hopkins Center for the Arts at Dartmouth College where César is a professor. This production of “Noise” is presented by Wilbury Theatre Group in collaboration with Spirits Go Blah productions, New York. Now that it's finally had its own run and found its own life, Josh reached out to César once more to present it in Providence, and César requested that I direct this production. This is my first time collaborating at Wilbury. I have acted in this production as well, so it is a tremendous opportunity to be directing "Noise" for the first time.

Ida: How has “Noise” evolved over time from the original commissioning to this production?

Dante: “Noise” was first created in a very similar time, one of political upheaval in 2016. And we find ourselves in a similar political area today. “Noise” was born in that energetic space. It has been worked and reworked to what it is today from many workshops and with many professionals as well as students. César tends to work in a holistic, community atmosphere but there has been a core group that has been consistently working on this production. The Providence production is an entirely different group of people from the area, and it is an opportunity to see how this production changes with this group of actors, crew and influencers.

Ida: What was the most challenging aspect of directing a brand-new work?

Dante: I think the biggest challenge is that “Noise” requires all performers to bring a part of themselves to it. I didn’t know any of the actors before casting them. I was required to get to know them through a five-minute audition and to make decisions based upon where I perceived they placed their intentions relating to music and theater. No actor plays a character in this work, they play themselves. There is no fourth wall. They are completely exposed. One of the joys of this experience for me is that we have developed a common community of our own even though I knew no one upon my arrival. The other challenge is that “Noise” has lots of audience participation and I was nervous about that because I didn’t know the Providence audience or how they would react to the piece.

Ida: Were there moments when the play changed significantly during the rehearsal process?

Dante: Not necessarily but something I will say, is that it is my first time directing “Noise” and directing a play by César. He put a great deal of trust in me. The play itself changes each time because of the actors, the environment and a new community of people in the audience. It is those major characteristics, combined, that alter or change the play. This is the beauty of this play and why it is written with an endearing focus on community.

Ida: What qualities were you looking for in the cast and how did you find the right actors?

Dante: There are some logistical things that are important in “Noise,” so I had to look for actors who were also musicians. The other thing I wanted to do was to find out as much as I could about each actor in a very short audition span. I wanted to get to know them by asking, “What is your relationship with theater and what is your relationship to music?”  Depending on the answer that they gave is how I made my decisions. Many of the actors/musicians are professionals or volunteers who also work outside of the theater, committing their talents and time in building their communities through the arts. This quality was very important to me as well.

Ida: How do you want the audience to feel as they leave the theater?

Dante: I think that “Noise” offers a pretty radical proposal to the audience, which is that capitalism is really the opposite of community. Many of us go to the theater to make connections but how many times do we, as audience members, actually make a significant connection with someone else in the audience that they don’t know? I hope that the audience goes back to their own communities inspired to build and make new connections of their own. And I hope that they will make connections with their fellow audience members with the opportunity to “play” together.

Ida: Are there specific moments in the play that you think will resonate most strongly with the audience?

Dante: I think it will be the audience participation. It is total immersion to explore a childlike adventure. The invitation that “Noise” gives the audience is to play again. I hope that they allow themselves to experience the wonder, joy and curiosity that they had as children.

Ida: Were there any unexpected discoveries in the design process?

Dante: The design of “Noise” has changed with almost every production we have done over the last seven years. At the Wilbury Theatre, I wanted to reflect the community of Providence.  A huge inspiration was the gallery setting of the WaterFire Building. The production provides rules where everyone knows what they are and how to behave. However, they are invited to question those rules and to dismantle them. This is both the challenge and the magic of this musical.

Ida:  What has been the most rewarding moment for you in this journey so far?

Dante: I think the most rewarding thing for me is that we have achieved the goal of “Noise.” The people working on the musical create a community that feels committed to shaping a better society through music and the performing arts. I think that it will have the same impact on the audience as well. It feels like a puzzle we have all completed together, actors, crew and the audience have their own piece, and everyone fills it so beautifully.