Both were experimental art works that used motion capture techniques, and Cycling ’74’s Max/Msp software to create some amazing actor controlled projec-tions and sound. We pushed these boundaries of traditional theatre yet again in 2007, when we premiered another new work, Labcoats on Clouds at the 2007 Prague Quadrennial, and at Purdue in 2008, with the Ministry of Funny Noises. bringing back my old partner, Brad Garton, and Gregory Taylor from Cycling ’74 as guest artists.
Meanwhile, Joel Fink and I continued to develop new productions of Romeo and Juliet (2004), and Henry V (2008), and we’ve revived A Midsummer Night’s Dream (2004), Twelfth Night (2005), and An Unkindenss of Ravens. I’ve also composed new scores for the world premiere of HIs Occupation (2005), and
Shakespeare’s Winter Tale (2006).
In 2011, I composed the score for James Still’s world premiere of I Love to Eat, excerpts were subsequently performed at Avery Fisher Hall at Lincoln Center. Also in 2011, I organized a group of faculty staff and students to create a new experimnetal mashup of theatre and video gaming, called Ad Infinitum³, in which audience members use their smartphones to controll live avatars (characters) in the play. In 2015, I continued to explore the underlying thesis that "theatre is a form of music" in the Electronic Dance Music (EDM) mashup with theatre, called Choices thEDMatre.
For the next two years, I worked on putting everything I've learned about creating sound scores for theatre into my book, Music as a Chariot, which Routledge
released in 2018.
Stay tuned....TOP