The decision to perform in the dark throws the light, so to speak, on the weakest link in NOTE productions, the music. "Blind Trust" begins with interesting background "soundscapes" by Impulse Productions that John Cage might have enjoyed, although not all of them are convincing; the sound of the typewriter is no longer heard in classified advertising departments. The next layer is derivative and mechanical musical accompaniments by Evan Harlan and Margaret Ulmer. (Is "Blind Trust" paying royalties to John Williams and Philip Glass? It should be.) On top of this the unseen singers devise their own parts, which for the most part they conceive in terms of musical, verbal, vocal and harmonic cliche. The great art of improvisation, of course, depends on defeating cliche, or turning it to your own advantage. The music of "Blind Trust" is worthless, and it is impossible for the talented performers (Graham Ramsay, Merle Perkins, Jonathan Rosenthal and Wendy Hunter) to overcome this obstacle to convincing characterization because they are creating it themselves.