NYMF Platforms reviews are in!

Brent’s show Platforms just closed it’s sold-out run at NYMF. Here are a few quotes from the reviews we’ve collected so far:

From BroadwayWorld.com’s message board, posted by whatever2 – Oct 2, 2007

saw “platforms” tonite — run, do not walk, to get tickets. it’s this year’s commissioned choreography piece, and simply stunning. a little like “contact” (even stars deborah yates!), but w/ a clever, modern, urban new york sensibility. simply brilliant.

From Backstage.com, reviewed by Ron Cohen – Oct 3, 2007

Lord’s recorded score beautifully evokes the show’s shifting moods…

Platforms is an hour or so of the most intense and exciting dance you’re likely to see on any New York stage this season.

From nytheatre.com, reviewed by Josh Sherman – Oct 4, 2007

The original music, by Brent Lord, is perhaps the most inspired soundtrack of a theatre piece I’ve heard in quite some time. The choreography matches perfectly with each mood shift — the underscoring in each and every scene is precisely in tune with the dancers’ vocabulary of movement.

If you missed Platforms at NYMF this year, BroadwayWorld.com has a NYMF dance preview video that you can watch here. Their “tap-off” number is the first one after Kris’s interview.



Original dance musical with music by Brent Lord for the 2007 “Born at NYMF” commission. Winner of Peter Filichia’s 2007 Talkin’ Broadway Summer Theatre Festival “Wild Card” citation and the NYMF “Excellence in Choreography” award. Starring Tony nominees Deborah Yates and Ted Levy, co-conceived by director Holly-Anne Ruggiero and bookwriter Delaney Britt Brewer. Choreographed by Ron De Jesus, Linda Goodrich, Jeff Shade, Nick Kenkel, and Matt Wiliams. World premiered at The Theatre at St. Clements, NYC — Oct 2-6, 2007.


It is rush hour on a crowded subway platform — “the one place in New York where you will find every social class”, including a conspicuously out-of-place tourist couple from the Midwest (Evening Rush Hour – The Platform, 5pm). Jasper, a rhythm-tapping street performer has just teamed up with a bucket drummer after vying for the same playing space (Jasper on the Platform). A train arrives and in the confusion, Doug is separated from his wife Nancy. Instead of returning to find her, he takes the opportunity to venture out into the night alone.

Later at a park, Doug encounters personalities curious to this midwesterner and finds himself on one side of a (tap) battle (Chess – Doug in a park, later). Another lurker, party-promoter Sammy, confronts his demons when his dealer finds him alone (Sammy’s Confrontation) while elsewhere in the park, Nancy explores new worlds and sensations, only to attract the wrong kind of attention (Nancy – In the same park). When Doug overhears troubling things (Little Bags), he and a stranger fight off two thugs in the park (Merengue). Both Doug and Nancy eventually find their separate ways back to The Platform. But rowdy late night passengers — and the tempting intrigue of Sammy’s party fliers — distract them from seeing each other. Once again they get on different trains (Near Misses – The Platform, 10pm).

In the alley behind a Times Square nightclub, A Club Owner greets Heidi as she walks in the back door and somewhat reluctantly transforms out of her day-job business attire and into her nighttime persona (Heidi – A Times Square nightclub). John, a visible public figure, finds some solitude with his flask in a dark corner outside the club, when Eva — who is definitely more than she seems — interrupts (John and Eva – Outside the nightclub). All types descend on the nightclub, including Doug and Nancy — each having found their way to The Club from Sammy’s flyers. Doug and Heidi lock eyes across the club, having noticed each other in very different circumstances on The Platform earlier in the night. They, along with other clubgoers — eventually joined by John and Eva — explore uncharted territories with their partners (Tango – Inside the nightclub). Things heat up as the night drags on. Heidi and John bump in to each other, and their secret double-lives are revealed. Nancy and Doug might have seen each other, yet they allow their charade to continue (3am – Inside the club).

A few hours later, it is morning Rush hour on The Platform. Those still out from the night before and others just starting their day intermingle. A tentative Nancy and Doug find each other there and head home, self-aware of having had separate nights of “freedom” (Morning Rush Hour – The Platform, 8am).

“Platforms” at NYMF – 3 performances only!

I was invited to write music for the world premiere of a new dance musical at this year’s New York Musical Theatre Festival. This is the same festival Go-Go Beach debuted in last year.

The show, called Platforms, is an original dance narrative musical. The story was conceived by director Holly-Anne Ruggiero (Jersey Boys, 700 Sundays, Dracula) and bookwriter Delaney Britt Brewer. Five amazing choreographers collaborate to tell sections of the story thru dance and original music. Tony nominee Deborah Yates (“The Girl in the Yellow Dress” — Contact) stars with Ted Levy (Black & Blue, Jelly’s Last Jam) and a cast of many others.

Not to be confused with shows like Contact, which won Best Musical using a score of pre-existing canned music, Platforms will feature canned music written from scratch by me. The nymf.org page for our show just got updated with some of my music samples, so go take a listen.

Single tickets are already on sale. A purchase link is on the nymf.org show page. Three performances only on Oct 2 at 8pm, Oct 4 at 9pm, and Oct 6 at 1pm at The Theatre at St. Clements — 46th west of 9th ave (map) .