Much of my compositional work has been for the theatre, which I have enjoyed tremendously. Each new play is a doorway into a different world that involves research and discovery – so that I can temporarily become the world’s greatest expert in, say, West African magic, Victorian murders, Robert Louis Stevenson, etc. Of course, there are compositions that are for the concert hall – Integration Octet for example – but even Mass Carib was initially conceived as a theatrical show, although I have preferred it in its more recent incarnations as a concert piece. More recently I have begun writing pieces for solo piano.
