Stefan Gregory's compositions and sound designs have graced both stage and screen. His sonic aesthetic ranges from string quartets to noisome guitars, but this breadth of tone is hardly surprising given that he's a rock star with first class honours in pure mathematics. Literally.
Having been a scholarship student at The University of Sydney, Stefan dipped his toe into the waters of Silicon Valley in his early twenties, but returned to Australia to pursue music, rather than maths. In 2004, he joined the Australian rock band Faker, with whom he played for several years, clocking up ARIA nominations and a solid platinum hit. Having also studied Jazz at the Sydney Conservatorium, Stefan brings all this experience to bear in his current work as a composer, sound designer, performer and collaborator in theatre, dance and film.
With Sydney Theatre Company he was the on-stage musician in the epic Shakespeare cycle The War of the Roses back in 2010. In 2015, Stefan worked for the first time with STC Resident Director Kip Williams on Tennessee Williams' Suddenly Last Summer and then on Anton Chekhov's The Present, adapted by Andrew Upton. Since then, Stefan’s work has included another Checkhovian adaptation with Three Sisters (2017), The Resistible Rise of Arturo Ui (2018) and Accidental Death of an Anarchist (2018).
In 2019 Stefan returns to work on Cat on a Hot Tin Roof - not for the first time, as you'll see below. Here we asked Stefan to share and discuss with you a few tracks from his back catalogue. Enjoy.
This is the most recent project I've worked on, for a film called Red Rover by Brooke Goldfinch. I've chosen it because it stands up well outside its original context and also because of Jane Sheldon's beautiful voice..
This is a live recording from The War of the Roses, one of my first jobs for STC. I squatted on stage for two hours and made drones, wails and hums with an electric guitar while water, blood and knives were thrown around the stage. Sometimes it got wet.
This is from a more recent show at STC, Face To Face. Early on, the protagonist Jenny watches a classical concert and I wanted echoes of this throughout the rest of the show as the soundtrack to her mental illness. We discussed having a live string quartet, but in the end we couldn't afford it.
Maggie and Brick 1
I love Tennessee Williams. In his writings he encourages theatre makers to find their own unique solutions to his dramatic propositions. This music is from the Cat on a Hot Tin Roof I did at Belvoir in 2013. It's not saying much. Sometimes it's tricky to not say much, to remain ambiguous in just the right way.
Cat on a Hot Tin Roof, 29 Apr- 8 Jun, Roslyn Packer Theatre
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