The Good Girl

What if there were multiple futures and you could see them all at once? Such is the basis of In the Summer Pavilion, a theatrical production in which three recent Princeton grads drop acid and are repeatedly hurtled forward in time to see multiple selves and futures. In keeping with a central theme of the play, the randomness and ever-changing nature of the future, I chose to use a great deal of generative music, which unfolds randomly over time, unable to predict what sound comes next. In the Summer Pavilion opened October 18th 2012, at the 59e59 Theater in Manhattan's Upper East Side.

The Good Girl

59E59 Theaters, Theater C

Anjali works her routine government-issued job as a madam to a sexbot, when maintenance man Ven arrives to find the robot exhibiting unusual--and illegal--human-like behavior. The pair strike up an uneasy partnership--she expands the robot's repertoire of behaviors and he brings in the high-paying clientele. But when the clients start asking for more, Anjali must decide just how far she is willing to go. The Good Girl demanded emotive underscoring, that supported the dramatically shifting story arc.

"The design team for A GOOD GIRL brings the play to life" - Marina Kennedy, BroadwayWorld.com

"Sound design from Julian Evans was eerie, especially with the low rumbles creeping in" - Michael Block, Theater in the Now

"Julian Evans (sound) is superb" - Deborah Heinemen, Berkshire Fine Arts

"A particularly annoying, happy-go-lucky version of “Singing in the Rain,” becomes a menacing reminder of what we have at stake in our personal lives and as social and cultural beings." - Carole Di Tosti, Theater Pizzazz