After suggesting we incorporate murder ballads into my play, she’d also come up with a character who’d perform them. And of course she intended to take on that role, when the time came. I hadn’t argued. Nisa was a brilliant performer—I’d first fallen in love with her because of her voice. Yet it was still my play: a play with music, not a proper musical. When I submitted Witching Night for the grant, I’d left out her lyrics, a fact we’d argued about ever since. At the time, they’d felt ancillary to me, the same way the snippets of original text had become subsidiary to what I’d added.
This can only end badly
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