Overture

from Not All Thieves Come To Harm You

The play is a fast paced and delightfully absurd farce set in Rome, with all the door-slamming, identity-mistaking, and temper-inflaming one would expect. The overture played with house lights down, with the intention of getting the audience into a lively and cheerful mood.

Overture

from Rosencrantz and Guildenstern Are Dead

The audience entered the theater to see a quite empty space with the hints of scenery from other shows strewn about. The overture started as the house lights came down and played in darkness.

It Would Have Been Nice To Have Unicorns

from Rosencrantz and Guildenstern Are Dead

This piece served as a sort of entr'acte leading into the third and final act of the play, which begins a night on a ship sailing across the English channel, bringing our protagonists to their fate.

The Palace

from Ash Girl

This production of Ash Girl, Timberlake Wertenbaker's retelling of Cinderella, was set in a world of fabric and shadows with a slightly middle eastern feel. This piece of music scored Ash Girl's first meeting with the Prince, and their first dance.

In The Clearing

from The Clearing

The Clearing performed in the rectory hall of a church, with the audience facing a beautiful stained glass window. The stage was raised and surrounded by trees and soil, with open space in the middle to form the clearing where the protagonists, two adult brothers, would secretly venture as children.

Peter

from The Clearing

The older brother is gay, and Peter is his first serious boyfriend. This theme introduced Peter to the audience, and also to the conflicted younger brother.

Ella

from The Clearing

Ella is the brothers' mother. She is kind, sad, devout, and concerned about her children's happiness.

Scientifically Proven

from The Clearing

After a troubling encounter in the clearing, the brothers retreat to their mother's home and attempt to understand their feelings and the events going on around them.

And You're Coming With Me

from The Crucible

This production of The Crucible lived in a clashing of the rustic and the modern. This track underscored John's resolution to go to the court and exonerate his wife.

He Have His Goodness Now

from The Crucible

This track closed the show as Elizabeth looks offstage to her husband's hanging.

Theme

from Metamorphoses

Mary Zimmerman's Metamorphoses is a lyrical, physical, re-exploration of a number of Greek myths. The design of this production was guided by a sense of magic and unexpected possibilities.

Orpheus and Eurydice

from Metamorphoses

This track introduced the tale of Orpheus and Eurydice, accompanying a dance-like pantomime which served as a prologue, visually telling the story in brief.

Opening Theme

from Faust, U.S.

Faust, U.S. was a retelling of Doctor Faustus set in the world of U.S. politics. Faust is a senator running for president, and he strikes a shadowy deal to clinch the election. The show began with this track accompanying a series of newscasts projected on several screens throughout the theater, setting up the backstory through a sort of "greek chorus" of the media.

Tidings Of Comfort And Joy

from A Tuna Christmas

A Tuna Christmas is a playful, silly tour of a small Texas town during Christmastime. To help set both the time and place, the score was all original arrangements and recordings of holiday music in a country-western style.

Silent Night

from A Tuna Christmas

Sad Amble

from Swell

Swell, a stage adaptation of a graphic novel, is about a young woman coping with the death of her younger sister. The overall design was sparse, cold, and sad.

Lucy's Dream

from Swell

Lucy, the deceased younger sister, appears in a dream and describes a dream of her own.

The Armory Rag

I wrote this on the piano that lives in the lobby of the Armory, home of Portland Center Stage, not for any particular show.