Geffen Playhouse | Director: Giovanna Sardelli

Though Guards at the Taj is set in 1648 India, the characters speak in modern American English, including accents, slang, and swearing. One of the challenges with the design and score was to find music that felt ancient and modern at the same time. I used digital drums, synthesizer, and traditional pan-Asian instruments to combine the two ideas into the world of the play.


A transition.

Another transition.

South Coast Repertory | Director: Daniella Topol

Rachel Bonds’ play focuses on the ideas of connection to your past, leaving that past for your future, and how the intersection of those ideas vary from person to person. The text itself was naturalistic, but the designs were much more theatrical. The music needed to find a balancing point between the two worlds, connecting to the emotion and psychology of the play while still remaining a bit aloof from it.

This piece opened the show.

This transition is abrupt and violent.

This transition is much cleaner and simpler.

The Geffen Playhouse | Director: Will Frears

The world premiere of Michael Golamco’s play focuses on two estranged video game creator friends and an exceptional piece of Artificial Intelligence. The music wanted to be modern and non-musical, free of melody, propelling the play with short pieces of glitchy electronic music.

Here’s one transition piece.


Another transition piece.


We wanted to make the sound of the Artificial Intelligence (played by a human, live on stage) somehow different from the other characters, so I created a little software patch that added a series of tones to the AI’s voice. In performance, the actor wore a wireless microphone, the sound of which was used by the computer to generate the tones in real time. This is a short recording of what the finished product sounded like.

The National Theatre of Romania (Cluj) | Director: Eli Simon

Two groups of clowns, born of one mother, battle for control of their planet. A production full of contrasts, with birth and death, darkness and light, loud and soft. The clowns did not speak words, which created an opportunity for sound & music to be the totality of the aural experience. The music takes the idea of vocalization and turns it on its head as only a clown show can.

Clowns fight for money


The Big Red Button rises from the floor


Mother Clown ascends into heaven

Broadway, Regional Theatres, North American Tour | Director: Rob Ruggiero

High is an electric guitar score for Matthew Lombardo’s play. This score and production premiered on Broadway in 2011.

The top of Act I


Some underscoring