Crews 
If you loved the controversial Oscar Award winning film ‘Get Out‘ from 2017, get ready for the live stage version complete with live orchestra.
It was recently announced that the Jordan Peele crafted film will headline it’s own live show on the highly coveted stage of the Kennedy Center this fall as part of their NSO Pops concert series according to the official site for KC.
Watch the groundbreaking film in the Concert Hall with the score performed live by the National Symphony Orchestra! In Universal Pictures’ Get Out, the speculative thriller/comedy from Blumhouse (producers of The Visit, the Insidious series, and The Gift) and the mind of Jordan Peele, a young African American man visits his white girlfriend’s family estate—only to become ensnared in a more sinister reason for the invitation.
A social satire that evolves into nightmarish terror, Get Out was a demographic-busting success with both critics and moviegoers, and has been widely praised for providing a nuanced view of racism in contemporary America. Last year, director Jordan Peele took home the Academy Award® for Best Original Screenplay, making history as the first African American to win the category.
Get Out stars Daniel Kaluuya, Allison Williams, Bradley Whitford, Catherine Keener, Caleb Landry Jones, Stephen Root, and Lakeith Stanfield.
Get Out director Jordan Peele on the film’s composer Michael Abels:
“He hadn’t composed a film before, which is what I wanted; I didn’t want someone with a bag of tricks. As a movie, it needs to sound like something we hadn’t experienced before. I sent him links to my favorite horror scores: Philip Glass for Candyman, John Carpenter for Halloween, the score from The Shining, Mica Levy’s Under the Skin, Angelo Badalamenti. We talked about elements of these scores that produced the unnerving aspects. I found him on YouTube with one of his classical works, ‘Urban Legends.’ It wasn’t like any classical piece I’ve heard. It was a hybrid and this film is about creating hybrids. I wanted the music to reflect that. We first focused on that opening track. I knew I wanted black voices in a context we hadn’t heard. He decided to do the voices in Swahili. He came up with something that sounds like a demonic Negro spiritual. It just worked and it informs the rest of the score.”—Variety
If you’re in the D.C. area you can check out the show and get ticket info HERE.
