Its a Wonderful Life @ RMTC

Back in Winnipeg to do live foley and sound design for Its a Wonderful Life, set as a 1940's radio play. Lots of great press, good houses and a lovely cast.
Its a wonderful gig - Winnipeg Free Press article
CBC review
CBC radio/tv feature

The Children @ CanStage

Eda Holmes directed this intriguing work with three great actors at CanStage. A lovely production that was a copro with the Centaur Theatre in Montreal.

Theory @ Tarragon

Had the pleasure of work on Norman Yeung's new play, Theory, at the Tarragon Theatre. A smart work nicely directed by Esther Jun.

Bed and Breakfast at Soulpepper

Bed and Breakfast keeps on rocking! This time a new production directed by Ann-Marie Kerr for Soulpepper. Its a great production with around 250 cues, lots and lots of sound really well integrated with the actors.

The Hound of Baskervilles

First mystery for me, a really great production at the Shaw Festival, directed by Craig Hall. Over 250 cues with about 60 cues with a string quartet of sorts that I recorded with my gear in one amazing session. Here's a few tracks from the show.

The Baroness and the Pig

Very interesting two hander for the Shaw Festival in their studio theatre. Lots of music and sound, really great performances and a slightly challenging but interesting show.

Orphée +

Had the pleasure of sound designing Opera Columbus and Against the Grain's Orphée +. First time sound designing for opera and it was quite an epic project. After a workshop in Banff, where I played guitar, ran and programmed a mainstage rig, sampled choruses and played live for the showcase, we took the show to Columbus Ohio where it premiered. I worked with the director, conductor and arranger to rework the opera, adding electric guitar and a keyboard mainstage rig. We had 3 'virtual choirs', choirs of youtube singers singing to a conductor and piano video. This was mixed and edited into a single chorus and then triggered by the keyboard player in the pit. We also sampled some chorus parts so that they could be played word by word by the keyboard player, added some synthesizer parts and reworked the arrangement for a smaller band. The team was really great, the challenges immense and very rewarding.
Winner of 5 Dora awards and nominated for 4 other Doras.

Innocence Lost

Soulpepper's production of Innocence Lost, a play about Stephen Truscott was very interesting. Told like a revealing mystery by the townspeople, the show required a couple of hundred very subtle sound designy cues to impart a bit of mystery and shape to the piece. Beautiful set by Camie Koo and lights by Bonnie Beecher.

La Bete

Soulpepper's production of La Bete was very enjoyable. Wrote some baroque with electric guitar music, found a small harpsichord for the actors to play, along with a few other instruments. Worked to coach them on ensemble work for a few scenes then stood back and watched it all happen. Great script and show.

Twelth Night

Reworked Jillian Keiley and the Old Trout's version of Twelfth Night at Theatre Calgary. Great theatre with my new favourite sound system in the country. We reworked 90's pop tunes as if done by string quartet to make it period/modern. Really fun and lovely production, everything that's excellent about live theatre.
Twelfth Night won outstanding production at the Betty's, amongst the 5 it won

A Delicate Balance

Worked through the changes at Soulpepper while working on 'A Delicate Balance', aptly named. It's a lovely and odd piece by Edward Albee, directed by Diana LeBlanc. Great cast and it is a great company.
Nominated for best production at the Doras


I created music for Laurence Lemieux's beautiful piece on Vimy Ridge, JUSQU’À VIMY.
It was a great process that included a trip to Vimy for the 100th anniversary, staying in town with grateful locals and many trips to memorials and cemeteries.

As NOW Magazine said:
Among the work’s masterful elements are Jeremy Mimnagh’s poetic wall projections and John Gzowski’s layered score, in which found sound is balanced against delicate singing and explosive orchestrations, adding weight to this elegant, unarguably heartfelt, dance."

In Time

Set music to a lovely solo piece by Hanna Kiel, on the excellent Anisa Tejpar. Jacob Niedzwiecki added some cool video.

Meter - Autorickshaw

A piece I wrote for Autorickshaw is now available on their new cd. They are a great band, check it out.
Horn Ok Please


If one word summed up the Dracula experience it would be 'epic'. Had a great time working on a wordy and thoughtful script by Liz Lochead, based on the book. Director Eda Holmes did a beautiful job and kept me busy. Wrote a song, some 'Bulgarianish' vocal music, lots and lots of music and the book for wireless mics for the run. I spent quite a bit of time in rehearsal with an electric guitar, making up music as the show was blocked, then took that home and orchestrated it for a low string quartet as well. Ended up recording 40 cues in one session with the string quartet, with a stack of charts about an inch thick.
Here's the big song, Tom O'Bedlam from the show, with me singing.

and another bit from the show here with
Brenna MacCrimmon on vox, Anna Redekop on viola, Sarah Fraser Raff on violin, Amber Ghent on cello, Fil Stasiak on bass and me on guitar.

Wilde Tales

Kate Hennig's great adaptation of Oscar Wilde's children tales was a fun lunchtime show for the Shaw Festival. With director Christine Brubaker we put together a 55 minute show with a couple of hundred cues, a few songs and room for interaction with a group of kid audience members who went through a pre show workshop. We kept the music light and bubbly sounding, though the individual stories all were quite dark for a kids show, though it really was for adults just as much as kids. Here's the Nightingale song, as sung by the lovely actor Emily Lukasik.