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My decision to dive into musical theater composition is a natural evolution of a life lived on both sides of the footlights. Before I was a composer, I was a performer, and my time on stage in roles like Roger in A New Brain, Coalhouse Walker Jr. in Ragtime, and Hud in Hair gave me a visceral understanding of how a score needs to breathe. That history as a performer is what fuels my writing today; I don’t just write notes on a page, I write for the performer standing in the spotlight, looking for that emotional truth. While my work with Blueprint Entertainment allows me to explore the polished, high-energy world of pop and virtual groups, musical theater is where I go to explore the complex "gray areas" of the human experience.

My musical ear was forged in the fires of the avant-garde and the intellectually challenging. Coming from a classical background, I was never the type of listener—or performer—who needed a simple, hummable melody to become obsessed. I gravitated toward the obscure and the intricate. Stephen Sondheim was, of course, the blueprint, but discovering Jason Robert Brown’s scores for Songs for a New World and Parade truly unlocked my understanding of contemporary theater writing. Alongside the sophisticated textures of Maltby & Shire, the whimsical yet deep work of Jones & Schmidt, and the bold, dissonant brilliance of Michael John LaChiusa, my sensibilities were shaped by writers who aren't afraid of complexity. They taught me that a musical can be as rigorous and demanding as any classical concerto.

I’m often asked about my process, especially since I am not a traditional pianist. However, in this era of "Cultural Technology," I view my workstation as my instrument. With the help of MIDI and advanced software, I am able to translate the sophisticated melodies and lyrics in my head into fully realized, unique compositions. This technology allows me to take my songwriting to the next level, bypassing the need for ten fingers on a keyboard to instead focus on the architecture of the song. It gives me the freedom to create scores that are a far cry from the pop charts—compositions that are experimental, fun, and deeply rooted in the storytelling tradition that first drew me to the stage all those years ago.

My Love of Musical Theater......