Alternate Realities

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The Bachelor

Critics and Cultures

Parallelepiped

Manifesto of the Futurists

The Body that Ascends

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"The Bachelor" is a seductive, sexy theme meant to mirror the mocking tone of "Bachelor Apartment" and its over-the-top sensuality. (Photo: Chris Plummer)

"Parallelepiped" was influenced by Alfred Hitchcock's "Music To Be Murdered By," using classic murder mystery musical language to create a sound that was strange and meant to evoke a sense of dread (Photo: Chris Plummer)

Daniel (middle of top row) as part of the team of composers and sound designers that created the audio experience for Alternate Realities. (Photo: Chris Plummer)

The hectic, frantic tone of "Critics and Cultures" accompanied the panicked pace of "Genius and Culture." (Photo: Chris Plummer)

An Amble Through the Absurd

Daniel composed music for two sections of this adventure into the abstract. He explored themes of futurism and history to create a musical sound that was both familiar yet original. For this he drew upon many sources, such as George Michael for the sensual "Bachelor Apartment" theme and Alfred Hitchcock for the classic horror mystery tone in the "Parallelepiped" theme.

These pieces were meant to be a reduction of traditional plays into their most dramatic and action-packed forms, and so he decided that the music should follow this methodology. Each of the five main pieces he composed took the main idea, mood, or feeling evoked from the section and amplified it to the point of exaggerated cliché. By doing this, both the setting and fundamental point were made immediately known.

His work in this production featured extensive involvement with QLab to create interactive elements that were flexible to the action onstage. This resulted in a dynamic and expressive score that enhanced the dramatic action, drawing in the audience.

Additionally, this gave the actors flexibility in their work on stage. When the right moment approached, the QLab operators could simply and seamlessly change the music to fit the pacing and changes the drama. The actors could then react to these changes, making the score almost a character itself.