Sound design for 4 custom Hewlett Packard Enterprise advertisements for Gimlet Media's "Reply All."
Jeremy's work remixed and satirically intertwined snippets of historical Charlie Chan film scores with purposefully over-the-top or orientalist sound design tropes to realize the play's metatheatrical film-noir aesthetic.
- Director: Andrew Jenks
- Producers: Andrew Jenks & Daniel Zinn
- Editor: Daniel Zinn
- Cinematographer: Mike Edmund
- Executive Producers: Vinnie Malhotra, Amy Entelis, Chris Berend
- Supervising Producer: Courtney Sexton
Jeremy's work for Sojourner's consisted of diegetic "match cuts" that linked scenes of different environments to each other. As the revolving set turns, music from a living room radio becomes muffled behind a wall and then to a distant car pulling away from a gas station. Alarm clocks morph to original bell rhythms inspired by the carnival music of Nigeria's Ibibio culture and then to the pneumatic sounds of a gas station and so forth.
For this piece, Jeremy worked with percussionists Matt Evans and Carson Moody to create source-material that blurs the line between percussive musical accent and explosive war soundscapes. Other aspects of the design were inspired by Mazen Kerbaj's "Starry Night" as well as textual references to birds with bladed wings and the reassembly of broken ceramic shards.
For this piece, Jeremy was tasked with scoring a number of films which were integrated with action on stage. He used a combination of originally composed material and period "mashups" which seamlessly integrated various samples of historical film music. The show's musical theme "Vitagraph Girl" was published in 1910. Without access to an original recording, Jeremy referenced an archived score to arrange and fully produce a period reproduction of the song.
Jeremy's most ambitious work with over 300 original sound cues, an 8' long steel thunder-sheet, "musique concréte" depictions of hell inspired by German industrial noise-rock, and collaborations with Music Director David Dabbon on floods, meteor storms, and more!
Noah's Flood Transition.
Underworld inspired by German industrial noise music.
Meteor Storm Collaboration. Music by David Dabbon. Sound & patches by JSB.
Moses Exodus transition.
Into Garden of Eden.
For this piece Jeremy worked on two intertwined pieces in separate spaces. Love Suicide, an Edo-period traditional Japanese play and Hikikomori, a contemporary devised piece about Japanese shut ins. Jeremy wrote two original songs for "The Lollygaggers" a fictional girl pop band, and created interstitial cues generated from found traditional Japanese music, and worked with the actors to create live soundscapes featuring gongs, chant, and a percussion piece using traditional "geta" clogs.
- Directed by: Michael Sheen.
- Sound Design & Foley: Jeremy S. Bloom
- Stage Manager: Robert Peters.
- With: Michael Sheen, Kate Burton, Mark Lewis Jones, Francine Morgan, Karl Johnson, and Matthew Aubrey.
"When virtuous Amanda Loveless learns that her rakish dead husband is very much alive, it’s time to stop mourning and start plotting. Wicked wit, irresistible intrigue and fabulous fashion combine through a dizzying kaleidoscope of Restoration characters, all chasing the joys of love. Director Ed Sylvanus Iskandar creates a modern-day Restoration experience. The play will begin with a baroque musicale while guests sip on unique holiday cocktails. Intermission will feature a variety show and to end the evening, guests will be able to join in a post show dance party It's all play and all party."
In "Restoration Comedy" director Ed Sylvanus Iskandar sought to fuse what is otherwise a period play with a modern day party experience. His only restriction for the sound design was that the music was to be exclusively sourced exclusively from The Scissor Sisters. In this piece, I saw a need to create fluid transitions between what are otherwise starkly contrasting modern and period worlds. The show's other sound designer Jill BC Du Boff edited the modern dance tracks chosen by the director according to the choreographers needs and then delivered them to me. After some experimentation, I then composed and produced a series period musical intros that seamlessly morph into the modern music.
These transitional morphs were declared "One of the most creative moments of the night" by theater blogger Michael Block. They ultimately created a surprising and fluid method of throwing the play into a modern setting. I also wrote some outtros in a similar fashion that bring the play back into period.
- Director: Ed Sylvanus Iskandar
- Playwright: Amy Freed
- Choreography: Will Taylor
- Co-Sound Designer: Jill BC Du Boff
- Set: Julia Noulin Merat
- Lighting: Daniel Chapman
- Costumes: Loren Shaw
- Props: Rowan Doyle
- Produced by The Flea Theater
In Smoke, a play about contemporary Native American identity conflicts, sound was primarily tasked to aurally distinguish moments of supernatural intervention from normal earthly existence. Such supernatural scenes were associated with two specific characters, each of whom were assigned a sonic theme. Following early research on Haudenosaunee theology and music, these themes were carefully embedded and blended within river ambiences by using a custom convolution processing workflow. This technique allowed spiritual characters, their supernatural actions, and nature itself all to become one.
Act 1 ends in a large thunderstorm and building fire, an exciting opportunity to collaborate with lighting designer Amanda Clegg Lyon and set designer Sarah Martin. For this effect, dedicated speakers were hidden behind a set piece made of acoustically transparent material. This was then lit to appear on fire, an effect made all the more believable by carefully sourced sound.
"In a Word" was a new, award-winning play by Lauren Yee that workshopped at The Williamstown Theatre Festival under the direction of Ethan Heard. In this show, sound served to clarify the complex, nonlinear progression of time over the course of the play. Throughout the show there are flashbacks to various locations - a detective's office, a grocery store, or a school - each defined largely via sonic means.
The design utilized a quadraphonic 'rep' system to its fullest extent by dynamically panning flashback sounds, accelerating them from the stage to behind the audience, essentially pulling us back in time. The system's cababilities were also harnessed to create a photographer character from prerecorded voiceovers reproduced behind the audience as the cast posed for their photos in front.
- Director: Ethan Heard
- Playwright: Lauren Yee
- Lighting: Matt Bathe
- Set: Ryan Grossheim
- Costumes: Steven Buechler
Example 1: Original music cue into the second act jungle setting accompanying a short dance\scenic transition. This material was generated by sampling obscure ethnomusicological field recordings and then rearranging and layering them to create a new piece.
Example 2: An excerpt from an original music cue built from sampled iPhone interaction sounds to accompany movement into a "social media scene" choreographed by Laura Brandel.
- By: Christopher Oscar Peña
- Director: Ben Kamine
- Movement: Laura Brandel
- Costumes: Andrea Lauer
- Lighting: Jon Cottle
- Sets: David Meyer
- Produced by The Flea Theater