Bright Room Called Day is an early work by Tony Kushner about the rise of the Third Reich in Germany and the rise of Roland Regan. The play compares the Holocaust of the 1930s and 1940s to the AIDS epidemic of the 1980s.
All the transition music and most underscoring was original. The ethereal other worldy underscore was created by stretching the historical jazz called for in the script to an extreme degree.
The cues were created with Ableton Live and Logic X and played back by QLab.
A surreal world premiere production, about the angst of growing older and becoming a decent human being in this post modern age.
Tectonic Theatre Projection’s world premier workshop production about experiencing the world of an autistic person and the lives of people who care for them.
Inspired by the work of composers like Steven Reich, Lukas Ligeti, Brian Eno, and Conlon Nancarrow as well as mathematicians like Wacław Sierpiński and Benoit Mandelbrot. I composed a half hour of original music based on the fractal algorithms of Sierpinski's Triangle, Node Counter Sequencing, and a waveform to MIDI interpolation that triggered a modern player piano live in the concert hall. I also explored various software programs including Ableton Live, MaxMSP and Isadora.
The music was accompanied by original projections by Michael F. Bergmann.
For a more detailed account of the creation process please download my thesis as a PDF here.
Ogres is an experience that is part dance, part puppetry and part play that contains no spoken words. All the stories were based on Japanese folktales like the Dojoji, the Baku, the Kuchisake-onna, and many more. Each story was told through movement and music.
The cues were both remixed found music and original compositions based on modern electronic dance bands like Grimes, Stantigold and Austra.
The cues were played back via Ableton Live, and triggered by QLab. All were built in Ableton Live.
Vieux Carre is a rarely done Tennessee Williams piece that is an autobiographical play about the act of creating. It describes his first year in New Orleans and the people he met living in a boarding house. He subsequently used their personalities to form the archetypes that are found throughout the rest of his work.
The production required original compositions, actors singing live and found historical music to bridge the scenes and to provide dramatic underscoring.
The cues were built in Logic and Ableton Live. All cues were played back by QLab.
As part of the class Sound Design for New Plays at the Yale School of Drama I was given a chance to present work in the Yale Art Gallery that was inspired by and revolved around pieces in the gallery my group chose the Nok Heads found in the African Collection.
We were inspired by their human like features and their arrangement. We saw them as a kind of chorus and set out to find their voices; we settled upon blown bottles, tapping bottles and human hums.
To create four algorithmic pieces that the Nok Head Choir would "sing" I first chose the, D Minor scale, I then assigned a value to the way the computer would play the scale. Sometimes moving up the scale would be weighted higher than moving down. Other times I weighted the first note in the scale the highest and the next note the lowest, Each voice in a single piece had a slightly different weighting, and each piece had a significantly different weight.
The music and projections were accompanied by the printed text posted below.
Far far away in a faraway land
Lay thirty three clay people in a clay people bed
Then one day, some non-clay people came
Shook off ancient muds from the clay people heads
One by one awake again
Free from dusts and clay remains
They flew their lives into our gales
Upright and boldly told their tales
Of states and faces marvelous
Of tribal wars cacophonous
Oft they’d quietly whisper hence
Of artsy folk beyond the fence
Far far away from their faraway land
Stood thirty three clay people in their clay people clan
Then one day, some more non-clay people came
Asked “clay people, what would your sounds be today?”
One by one they sing their song
Humming clinking going strong
Watch their faces light and fade
Join us in their serenade
Let their sounds wash over you
Blur their faces to one hue.
But when they hush and breathe their dreams
Softly bow and take your leave.
Director - Margot Bordelon
Text - Hansol Jung
Music - Matt Otto
Projections - Kristen Robinson
The Fatal Eggs is a science fiction comedic adaptation of the book by Mikhail Bulgakov, involving a red ray that speeds up the process of cells dividing, a distinct lack of chickens, and government intervention. The play illustrates the perils of media's bias, communism and a mob mentality.
Russian and German opera was weaved through out the narrative to set the world and set the emotional journey of the play. The play calls for many different effects, ranging from an overly large boa constrictor eating a woman, a riot, and a slight hum from a light which is the origin of the red ray.
The cues were built in Logic and played back in QLab.
A modern production of Julius Caesar that explores how the modern world of texting, retweeting and the 24 hour news cycle would react to the death of its leader.
Two men play multiple characters living in the present day Belfast hood. Neither Johnny Meister nor The Stitch have any direction in their lives. Both are living on government welfare and still have the same anger and aggression that their forefathers had during “The Troubles” with nowhere to direct it, except at each other.
Each act is a monologue, describing the same drug fueled night through their particular perspectives. Act 1presents Johnny’s point of view, Act 2 is The Stitch's culminating in a car crash and fight between these two thugs. Two actors play multiple characters that fill out the story.
In our production the set and lighting were very simple. A series of Florescent tubes divided the wall and bathed both the actors and the theater in their harsh light.
Sound was used to described specific locations and emotional underscoring. We used various leitmotif for important objects like Johnny’s Knife and locations like the supermarket to give the audience an anchor point for where they physical were and where each character was in their bender.
I am particularly proud of this show because my work was nominated for a Helen Hayes Award in the Outstanding Sound Design, Resident Production category in 2011.
Original stand alone compositions.
I started taking pictures with my Canon a70 during the summer of 2004. Since then I have moved on to bigger and better cameras and subjects. You can see more of my work at Flickr.