Past works
My portfolio of composition, musical direction, and performances, can be found above. Information on my role within each production can be found in subtitles.
A Mirrored Monet (2026) - Aria Entertainment; Charing Cross Theatre
dir. Christian Durham (asst. Heather Douglas)
mus. dir. Michael Webborn (asst. Rachel Blaquière)
design by Libby Todd
A Mirrored Monet was my first large-scale foray into commercial (Off-)West-End theatre, and posed numerous positive creative challenges in adapting it for the Charing Cross Theatre and its 8-piece band. With the help and mentorship of the incomparable Michael Webborn and Neil Metcalfe (orchestrator), I am very proud of what the show evolved into.
DIVAS: From Stage to Screen (2025) - BBD Productions; Paradise at Augustine's (EdFringe)
dir./co-prod. Scott Coltman
mus. superv./co-prod. Jonnie Grant
mus. dir./arr. Rachel Blaquière
I have been part of DIVAS since its inception in 2021 and could not be more grateful. Within the hoi polloi and chaos of Edinburgh Fringe, DIVAS as an opportunity to celebrate some of the best female artists of all time, to showcase some of the best singers Edinburgh has to offer, and for arrangers like me to bring a fun spin on tunes that rarely fail to bring an audience to their feet. The video above is of a complex arrangement of ABBA's Voulez-Vous, which gradually devolves from its original disco feel into something more reminiscent of the chaotic rave scene of Berlin.
All the Fraudulent Horse Girls (2022-4) - Brooklyn Rep. UK; The Glory, Seven Dials Playhouse, National Theatre Riverstage, Club Cumming, Pleasance Dome
book by Michael Louis Kennedy
dir./prod. Charles Quittner
music/mus. dir. by Rachel Blaquière
Horse Girls began when Charles Quittner, a fellow Mountview alumnus, approached me at Edinburgh Fringe with a characteristically bizarre proposal. Australian playwright Michael Louis Kennedy of Sydney World Pride fame had written a wonderfully wacky and hilarious script about a young girl whose obsession with horses and Carole from The Saddle Club deeeefinitely doesn't classify as the burgeoning seeds of autism and lesbianism, not at all. What began as a script with two references to pop tunes evolved into a film-music-esque odyssey of original music which carries the show from its beginning (a drag lip-sync number to Nikki Webster's Strawberry Kisses) to its ending (an even more surrealist version of Portishead's The Rip), all performed by one extremely heavily programmed keyboard and two actor-musicians who double, triple, quadruple, and more as roles in the story. As this show made its way from a basement theatre in The Glory (may it rest in peace) to Edinburgh Fringe via stints in the National, Seven Dials, and even New York's East Village, describing this endeavour in fewer than seventeen sentences has proven and continues to prove difficult, however I am immensely proud of the fever dream we have created. (Even if the unhinged extent of my keyboard programming led some EdFringe audience members to assuming the music was tracked. Heaven forfend.)
Clips of Horse Girls can be found within my portfolio linked above.
Hope is the thing with feathers
perf. Ealing Voices
cond. Michael Veazey
comp. & acc. Rachel Blaquière
text by Emily Dickinson (1830-1886)
Since 2024 I have accompanied a community choir in west London called Ealing Voices, and for their 2025 summer concert themed after American composers and poets, they commissioned me to write an original composition for them using text from an American poet. My choice was Emily Dickinson's poem Hope is the thing with feathers, which I chose to represent using impressionistic harmony, serene descant melodies, and fluttering bird-like aleatoric piano gestures. The score to Hope is the thing with feathers is also available for sale on this site under the Shop tab.
I Could
music and lyrics by Rachel Blaquière
perf. Robbie Fellover
accomp. Gary Jerry
prod. Martyn Sanderson & Shakira Rattray
The score to I Could is also available for sale on this site under the Shop tab.