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.
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.
"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
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