"I stay, I fight, and I give, for the world I know can be.” - Diana
Official Trailer
Wonder Woman’s banshee wail motive (E-G-B-B flat) was introduced to audiences in Batman vs. Superman (2016), when a mature and experienced Wonder Woman appeared. In Patty Jenkins’ film, as we trace the development of our superhero, so composer Rupert Gregson-Williams brilliantly develops Hans Zimmer’s electric cello theme: sometimes the motive falls to A, and sometimes the motive rises to C. We don’t hear the full-on theme until 1 hour and 15 minutes into the film when Wonder Woman is presented as a mature superhero.
In Diana’s youth, the inner strength and commitment of the Amazons is musically portrayed by primal drums and low brass, with earthy and romantic cello melodies, enhanced by soaring choruses (as if approval from the heavens). During training, to illustrate steps, gains, or progress, the horns move forward in widening intervals. And when dramatically appropriate, trumpets sound triumphant. Even in these early years of Wonder Woman’s life, the cello is associated with her character, and that builds, matures, and later develops, into her banshee wail theme!
The main Wonder Woman theme (in 7/8) does make us feel unsettled, yearning for a resolution, while making us feel and hear her commitment to succeed! Actor Gal Gadot said “Wonder Woman is a peace seeker, but when the fight arrives, she can fight. She’s a warrior and she enjoys the adrenaline of the fight.” Gregson-Williams certainly gets our adrenaline flowing with the repeating strings, long arching horn lines, flowing crescendos and diminuendos, and the drums of tribal determination!
From heaven to hell, orchestrated for aggressive drumming, swirling trombone glissandos, and orchestral strikes, Gregson-Williams really knows how to musically paint a picture of pain, loss, and love. – Maestro Erik Ochsner, February 2022
From Screen To Stage: Rupert Gregson-Williams’ Live Concert Journey – read the Film.Music.Media feature by Kaya Savas (January 2022)
“Wonder Woman embraces issues of female power and the need to turn from hate to love, war to peace in a mainstream delivery system.” – Thelma Adams, Observer
“Wonder Woman flips nearly every gendered superhero trope it encounters.” – Heather Hogan, Autostraddle
“In this film, Wonder Woman isn’t just a feminist icon – she’s the feminist icon. She embodies a feminine sense of peace, justice and emotional intelligence combined with classic superhero charisma; if you had any doubts about Diana Prince being able to hold her own in this blockbuster iteration, then don’t worry. She got this.” – Sarah Gibson, High Snobiety
“Even when [Diana] does encounter other people’s ideas about gender roles, she doesn’t automatically accept them, and she never lets anyone stop her. And the movie goes a step further and argues that it’s not merely little girls all over the world who stand to gain if they can grow up free of the distorting influence of misogyny: a world like that would be liberating and wonderful for men in lots of ways, too.” – Alyssa Rosenberg, The Washington Post
“It’s pretty incredible to see the diverse, strong group of Amazonians training for battle, many of whom are real-life athletes. As a result, Diana grows up believing she can do anything.” – Lawler, USA Today
From Warner Bros. Pictures and director Patty Jenkins, rediscover Gal Gadot’s acclaimed performance as the title character in the epic action adventure based on the DC Super Hero. Before she was Wonder Woman, she was Diana, princess of the Amazons, trained to be an unconquerable warrior. Raised on the sheltered island paradise of Themyscira, Diana leaves her home when American pilot Steve Trevor (Chris Pine) crashes on their shores and tells of a massive conflict raging in the outside world. Convinced she can stop the threat and fighting alongside man in a war to end all wars, Diana will discover her full powers . . . and her true destiny.
The film also stars Connie Nielson as Diana’s mother Queen Hippolyta; Robin Wright as Diana’s aunt, General Antiope; David Thewlis as Ares, masquerading as the speaker of the Imperial War Cabinet, Sir Patrick; Saïd Taghmaoui as Sameer, an ally of Steve’s; Ewen Bremner as Charlie, another of Steve’s allies; and Lucy Davis as Etta, Steve Trevor’s secretary.
Produced by Schirmer Theatrical, in association with Fortress Talent Management, audiences at Wonder Woman in Concert will experience Patty Jenkin’s first DC Extended Universe film, screened live as an orchestra performs ASCAP and BMI award-winning composer Rupert Gregson-Williams‘ original score. Composer Gregson-Williams joins Schirmer Theatrical’s creative team for the production to prepare his film score for live performance. The production includes the film, complete score and parts, along with a conductor video and click track. Production travels with a Technical Director.
Wonder Woman in Concert is presented under license from Warner Bros Distributing Inc. The music is licensed from Alfred Music Publishing.
THE MUSIC
Gregson-Williams’ expansive score is filled with exotic accents in the woodwinds and percussion. He did his due diligence to master his “No Man’s Land” cue, in order to capture the emotion driving Diana’s decision to defend humankind. He also took his time before starting the project to get to know director Patty Jenkins’ version of Diana. In a 2017 interview withThe Hollywood Reporter writer Aaron Couch, Gregson-Williams conveyed how he wanted the villains, Ludendorff and Dr. Maru, to be characterized by slithering musical figures that mirrored their evil conniving. He also wanted the romantic themes to reflect the innocent, romantically inexperienced backgrounds of both Diana and Steve Trevor.
For more insight into Gregson-Williams’ inspiration and working relationship with Jenkins, read Kaya Savas’ Film.Music.Media feature, “From Screen to Stage.”
FILM CREDITS
Event Photos
Film Stills
© 2020 Warner Bros. Ent. Inc. All rights reserved.
Upcoming Shows
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Logistics
Concert Duration: 161 minutes (2h 41m) inclusive of a 20 min intermission
Estimated Orchestral Playing Time: 79%
Working Instrumentation: 1(pic).1(ca).1(bcl).1(cbn)/4.2.3+btbn.1/timp.3perc/pf.synth/str + optional SATB choir
- Minimum string player count = 9/8/7/6/5
- Preferred string player count = 14/12/10/10/6
Subtitling Available: English, French, German, Spanish, Latin American Spanish, Italian, Japanese, Mandarin, Simplified Chinese
Technical Rider: Available Here
Booking Information
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