Complicated Refuge Alien Worlds Mary Stuart ICON-Gordon Parks Windows A Period Piece
"David Graves' original music and sound design are superb."
- Kedar K. Adour, For All Events
Miss Julie, directed by Mark Jackson, was a part of Aurora Theater's 2009 season. Below are four samples of the music that became an integral part of the play, as well as review excerpts. Members of San Francisco's Real Vocal String Quartet recorded the violin (Alisa Rose), viola (Dina Maccabee) and cello (Jessica Ivry) music. I am deeply indebted to for her generous advice on writing idiomatically for fiddle! Multiple overdubs were required to create the critical "barn dance" ambience for portions of the script, including some accordion (?!).
Ken Bullock, writing for the Berkeley Daily Planet, took a special interest in the project and wrote an insightful . Additional review excerpts:
"The carnival here, though, is only heard offstage, as the lower classes celebrate
the season with sexual provocativeness. David Graves’ music keys it in well, as do
his more reflective tones on strings and keyboard in the intimate chamber of the
kitchen, where time seems to float, to get tangled up in pauses and long looks, to
change the very color of the air as the three come out with their emotions and
secrets, peaking with a slow dance on the kitchen table as if on stage, ending in a
deadly game of hypnosis, of self-hypnosis."
- Ken Bullock,
"Composer/sound designer David A. Graves offers a movie-like underscore –
folksy jigs when we’re reminded of the celebrations happening outside on the
estate’s grounds, intensely romantic and cello dominated when Jean and Julie
inch closer to the consummation of their heavy-duty flirtation."
- Chad Jones,
"A great deal of credit for this production's success goes to Helen Cooper for
her effective translation, to David A. Graves for a remarkably intuitive
soundscape, and to designer Giulio Cesare Perrone for a unit set that is
simple, effective, and yet surprisingly elegant in its minimalism. All of these
elements have been carefully integrated under the meticulous direction of
Mark Jackson, whose keen attention to motivation and detail anchor the
evening in a most astonishing way. It's rare to see a classic done so well that
the audience leaves the theater visibly shaken by the ending."
- George Heymont,