I'm a classically trained musician (piano, music theory/arranging, etc.) and also play jazz, do some arranging, and [intlink id="4" type="page"]a lot of Music Director work for local theaters[/intlink]. I don't teach due mostly to lack of time, but contact me if you have an interesting arrangement in mind.

Musical training

  • Classical piano, 1972-1990, with many instructors including concert pianist and educator Michael Boriskin. Listen to a performance excerpt: Liszt, Sonetto no. 104 del Petrarca (recorded June 1990 at WesTrax Studios, NYC)

  • Certificate Program graduate, Preparatory School of the Mannes College of Music, New York, including comprehensive instruction in theory, ear training, composition, choir, history of music, ensemble and solo performance

  • Woodwind instruction (clarinet, alto & tenor) on and off from 2005-2008, with LynnĂ© Funkhouser

Performing For Fun

  • Guest sololist with YeraSon, guest accompanist with the Pacific Mozart Ensemble

  • Drummer and keyboardist (often simultaneously) for original & cover bands Spoon (MIT Battle of the Bands finalist), More At Eleven (MIT Battle of the Bands finalist), Reminiscent Jam (MIT Battle of the Bands semifinalist), many others. Sound excerpts coming soon....

Writing about music

I love musical theater and when I take friends to shows that have something to say, I sometimes write a short summary of how the book and music work together. [intlink id="18" type="page"]Here’s a few[/intlink].

A lot of what I’ve learned on the job about music directing will be in [intlink id="433" type="page"]my upcoming book[/intlink].

The business of show business

I’ve served on Boards and Advisory Boards of local/community theaters and have learned a lot about the economics of running one. I even wrote a comprehensive ticketing and CRM system for small theaters, Audience1st, which will soon be open source. [intlink id="6" type="page"]Read about that stuff here[/intlink].


Most of these were done in the context of my [intlink id="4" type="page"]musical theater[/intlink] work, a lot of which is done at the Altarena Playhouse in Alameda, CA.  I'm happy to share the arrangements with you if you email me and ask.


  • Oklahoma!, Contra Costa Civic Theater, 1998. With Trevor Pering, from 30 books to 7  (rhythm, reed 1 & 2, trumpet, trombone). Hear an excerpt from the Overture and compare it to Robert Russell Bennett's original orchestration.

  • Company (Altarena, 2004)—from 14 books to 5: rhythm, violin, woodwind (clarinet, bass clarinet, flute, alto flute, alto sax, baritone sax).

  • Merrily We Roll Along (Altarena)—from 14 books to 6: rhythm, horn (covering trumpet & trombone), reed 1 (flute, alto, clarinet), reed 2 (flute, clarinet, bass clarinet, baritone, oboe).

  • Gypsy (Altarena): reduction from 22 pieces to 6: rhythm, woodwind (flute, clarinet, oboe, alto sax), trumpet, horn/trumpet

  • Man of La Mancha (Altarena):  22 pieces to 6:  bass, acoustic guitar, percussion, woodwind (flute, piccolo, clarinet, oboe), trumpet/horn 1, horn 2

  • Assassins (Custom Made Theatre Co.): 12 books to 4: piano, percussion/banjo, fiddle, accordion.

  • Cabaret (Altarena):  additional arrangements including reduction of Entr'acte used in 1998 (Sam Mendes/Roundabout Theatre) revival and re-creation of Mein Herr arrangement created for that production. Instrumentation: piano, drums, string bass (doubling fiddle), banjo (doubling tuba), accordion, trombone, trumpet, alto. (During the waltz section, the tuba player switched to banjo, and the fiddle player switched to upright bass for the 2nd half.)

Original or derived arrangements:

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