In Summer 2020, I recorded, mixed, mastered the music and poetry, designed the soundscape transitions, and produced the audio stream for “Sugar & Salt,” an event by Momentum Dance Collective which took place the weekend of 19–20 September 2020 at the Alaska Botanical Garden (in Anchorage) and was also available for an online audience.
The sixth annual reprise of “A Christmas Carol,” in Anchorage at Perseverance Theatre, ran from December 20 to 29.
on the boards
I’ll be composing music for “Romeo and Juliet” at University of Alaska Anchorage, directed by Assistant Professor of Theatre Ty Hewitt, while mentoring student sound designer Krisha Manuel as part of her semester-long independent study of sound design.
I’m sound designing and composing for “With,” a world-premiere play by Carter W. Lewis, directed by Alicia Dhyana House for Perseverance Theatre, opening November 15 in Juneau.
Also coming up soon: sound design and composition for “Europe,” in March at Thalia’s Umbrella, and assisting Rory Stitt on “Fun Home” at Carter W. Lewis, directed by Alicia Dhyana House for Perseverance Theatre.
The classic play needed all original music. Here are the two main themes played beautifully by multitalented Juneau pianist Rob Cohen. I also wrote two original hymns for the production, and I hope to post those shortly if I can get the production recordings.
Y York’s wonderful play inspired this main theme for the fun combination of two small glockenspiels and accordion! Accordion: Mark Lutwak; Glockenspiels: Lucy Peckham and Michael Sakarias
My arrangement of “O Tannenbaum” for violin and cello, recorded in my studio by violinist Nate Berry and cellist Jon Genziano. Through the magic of digital audio manipulation, it sounds like a 78 recording.
There is a wealth of source material from the Smithsonian’s Lomax recording collection. Four amazing singers led by Shirley M. Springer Staten gave their time in my studio, and we recorded three songs anew… This is “The Sun Don’t Ever Go Down…”
Recording in the studio for “To Kill a Mockingbird”
And the same song played by Anchorage old-time banjo master Brian DeMarcus, from a very different southern tradition.
I can’t really take credit for this. I gave some interpretive direction to the marvelous Anchorage jazz pianist Dan McElrath, on Cole Porter’s beautiful song “Why Shouldn’t I…,” and he nailed it, giving exactly the sweetly flirtatious feel I wanted!
The main musical theme of the play is a short melody written for a character to improvise on the doctor’s piano after she has received her first treatment. Halting, sweet, and unpredictable when she first plays…
…it becomes a song…
…an anthem of joy to end Act I, and finally a fantasy transition of fulfillment and enlightment at the end of the play.
My wonderful pianists are Mischa Shimek, Rob Cohen, and my computer.
Original music written for “Annapurna.” I am fortunate to know two excellent Dobro players with very different styles—Peter Dunlap-Shohl, who here plays the sweet double-stop version of the melody on a very bluesy-sounding old metal-body resonator, and Randy Pasley, who plays the melody lyrically on his more bluegrass-y wood body.
Here are samples of the original compositions from my design for “Othello,” August–October 2015: the Othello main theme, played on synth by Yngvil vatn Guttu.
Desdemona’s “Willow” song, here played by Yngvil vatn Guttu on a harmonic flute.
Ryan Conarro and Takahiro Yamamoto (photo: Dave Depew)
“The Blue Bear Main Theme” by Lucy Peckham Mischa Shimek, guitar
Ryan Conarro and Takahiro Yamamoto (photo: Dave Depew)
“The Tripod Waltz” by Lucy Peckham Mischa Shimek, guitar
Set design by Akiko Nishijima
Percussionist Corliss Kimmel is featured in this montage I created from tension effects used throughout The Blue Bear. I produced and recorded all the percussion.
