Theatre & Live Performance

School of Rock

Director: Sarah Shanahan

Venue: Greenhalgh Theatre

In 2026, I served as the Musical Director for North Sydney Kids Musical Theatre Company’s production of School of Rock (music by Andrew Lloyd Webber; lyrics by Glenn Slater; book by Julian Fellowes). The cast was comprised of approximately 60 children and handful of young adults.

We Have Stolen Our Bodies From God (ArtsLab)

From 2024 to 2025, I took part in Shopfront Arts Co-op’s emerging artist residency program, ArtsLab. For this program, I composed a song cycle titled ‘We Have Stolen Our Bodies From God’, which I performed alongside six other musicians at the end of the residency period. The piece blended elements of folk and musical theatre with electronica and musique concrète to tell a spiritual, episodic narrative entirely through song.

More details about the piece, as well as clips from the performance, can be found here.

Selkie

Director: Kurtis Laing

Venue: The Old Fitz Theatre

In 2025, I provided sound design for Good Time Theatrics’ production of Selkie, written by Finn O'Branagáin. . I designed an hour’s worth of rain soundscapes for the show, with changes between the different sounds often occurring between scenes to reflect shifts in time and atmosphere. Additionally, whilst the music used was predominantly pre-written, I composed a short piece for a movement-based passage in the play’s second half, taking inspiration from the sombre folk stylings of the other music heard in the show used and the script’s usage of Celtic mythology.

An excerpt from the play’s sound can be heard here.

Shakespeare In Love

Director: Madeleine Withington

Venue: New Theatre

In 2024, I composed music for a production of Tom Stoppard’s Shakespeare in Love. My goal with this project was to create a series of tracks that would simulate a film soundtrack, similar to those heard in Baz Luhrmann’s Romeo + Juliet and Sofia Coppola’s Marie Antoinette. I took heavy inspiration from late 2000s/early 2010s indie and alternative acts such as M83, Beach House and Phoenix in the process. The result was a series of dreamy, triumphant and occasionally chaotic pieces, through which I was able to harness my love of pop songwriting in a purely instrumental fashion.

Excerpts from the play’s music can be heard here.

FBi Radio Presents: (Un)Intended Consequences

In October 2024, I provided music for (Un)Intended Consequences, a night of live storytelling hosted by radio program/podcast All The Best. The event featured six stories about influential moments and encounters, as well as the consequences that followed. I performed a semi-improvised score for each reading using a guitar and various digital instruments on Logic Pro.

Recordings from the evening, as well as transcripts of the stories, can be found here and here.

Wife

Director: Darrin Redgate

Venue: New Theatre

In 2024, I provided sound design for a production of Samual Adamson’s Wife (New Theeatre, dir. Darrin Redgate). As the play is set in four different time periods spanning across 80 years, I was tasked with sourcing and creating sounds that were evocative of each era, as well as ones that signified the passage of time. For example, I created a modernised ‘hyperpop’ rework of Bronski Beat’s Smalltown Boy to score a transition from 1988 to 2019. The track can be heard in the playlist linked below.

Excerpts from the play’s sound design can be heard here.

“The creative team behind Wife is equally impressive. David Marshall-Martin's set design, Jay Murrin's lighting, and Matthew Forbes' sound design will work in concert to bring the various eras to life on stage.”

— Tim Stackpool, That Show Blog

Everynight

Director: Oliver Durbidge

Venue: Seymour Centre

In 2022, I composed various songs and instrumental pieces for Sydney University Dramatic Society’s (SUDS) major production Everynight, an original work written by fellow SUDS members Oliver Durbidge and Tom Hetherington-Welch. This music was performed during the show’s run by a live band, which I also directed.

Various songs from the play can be heard here.

“A live band delivered spunkily surreal tunes that elevated each and every scene they accompanied.”

— Veronika Gustafson, PULP

The Pillowman

In March of 2021, I composed music for SUDS’ production of Martin McDonagh’s The Pillowman (dir. Oliver Durbidge). As the play is set in a nondescript dystopian future, the director wanted the production’s music to contain elements of recognisable songs made unfamiliar or off-putting. To achieve this, I utilised manipulated samples and interpolated melodies from various popular songs, such as Talking Heads’ ‘Once in a Lifetime’ and the hymn ‘Jesus Loves Me’, throughout the score.