CANDLEDANCING seek to understand the gift of love, in temperance and eternity. Will, a street urchin, shows up on the doorstep of the dilapidating East Abbey. He appears with money that he was ask to deliver by a stranger, which eventually saves their landmark from its impending demolition. Will’s melodious voice and his talent for writing poetry of great merit are seemingly controlled by the flickering flame of one particular, perpetual light, candle found in the chapel. Father Peter Andrews, the choir director, becomes the boy’s self-appointed mentor. He soon learns that Will’s creative spirit belongs to Julian of Norwich, a Medieval anchorage, who has come in quest of fulfilling her divine appointment. Sister Kate is perhaps even more noble than the rest. She seeks to set society free from its false passion for violence by popularizing the image of the new human being, created in her dramatic writings. Kate believes that the characters of her vision will tenderly open the hearts of society. Her concept of a meta-theatre promises to rise us all above the maya of current negative creation. It would appear that Will’s visit seemingly impeded her progress. Forced to focus on proper appearances and public opinion, church officials call in Father Peter for an inquest. Without administrative consultation, Father Peter began an investigation at the university in efforts to uncover Will’s link to the divine. Hoping to assist the spirit’s accomplishment of its ultimate purpose, Father Peter explains that his intention was the true pursuit of God’s will and not the defaming scandal that the media created. Regardless of innocent intentions, all involved find themselves subject to severe reprimand by order of the supremacy of the church... perchance the “Dark Ages” were really a point of great light. Through this myriad portrayal of experience, new light is shed on the human condition. Just when we think it’s too late, and the hope for heightened awareness goes back to being a pipe dream, the Medieval Spirit of Truth comes through the choirboy with it’s divine message. If we can learn to transform ourselves so that we may look without judgment, see without doubt, and love without condition; then we can live fully, feeding on the fruits of the garden, splendor, beauty, and peace.

Named Best Score 1999—Robert Hugill's score for CandleDancing at Veronica's Veil Players by the Pittsburgh Post-Gazette

“Candledancing can be a well-developed, lyrical, important play.Koepfinger has a mission here that's clear and sincere. The playwright's strength is the passion of her dialogue.” Pittsburgh Post-Gazette

"It was like nothing I had ever read before… I thought it would make brilliant theater. I started having all these visual pictures of how it might go." Robert Hugill, London composer and choral director FifteenB