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Writing music for theatre has been a highlight of my time at Guildhall, as it has allowed me to explore an art form in which I have a great amount of interest and to work towards a professional finished product.

Two thugs get out of the car and try to rob Vincent.

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I feel that the people here really make the institution.

I found Guildhall to be a really supportive environment that gave me room to explore, take risks, and mature as a mucisian, and as a human being.

Gyllenhaal has the toughest role by far, and she nails it in the pilot, maneuvering between authoritative, seductive, aloof, and vulnerable.

She achieves this almost immediately in Candy’s first scene, as she rebuffs Rodney’s professional advances, but she really shines in the episode’s standout sequence with a virginal young student named Stuart (Russell Posner).

As Vincent oversees a liquor delivery just past the break of dawn, a prostitute passes by him and they exchange words about his cut. This pre-credits sequence lays out ideas that series creators George Pelecanos and David Simon will inevitably explore in .

In just five minutes, we’re privy to a series of images that not only recur throughout this sprawling pilot, but also establish the overt desires and underlying beliefs that pervade the series.

He returns home to his mother-in-law watching a blaring television while his two kids are asleep upstairs; Vincent’s wife parties at all hours of the night.

He tries to get out of work at his second job the next morning, but his boss doesn’t believe getting held up is an acceptable excuse.

Simon and Pelecanos never once condescend to the lives of sex workers nor their choice of profession, nor do they shy away from their exploitation by their pimps.

It’s the same exploitation that Vincent suffers at the hands of his bosses, his brother, and the mob, though by different means.

In my first year, I was given the opportunity to play with the Britten-Pears Orchestra.