Brian Howrey (B. K. Howrey when the composer hat is on) was born and raised in Houston, Texas and studied music and theatre at Dartmouth College and the California Institute of the Arts. His music theatre pieces have been praised variously for their "Rube-Goldberg-like interplay" (Randy Braun, Backstage West), for being "strangely funny, surreal, thought-provoking and romantic" (Christopher Small, Triple F, the Fringe Guide), and for having "genuine echoes of Samuel Beckett" (Richard Scaffidi, Dramalogue). Mary Brennan of the Herald, Glasgow, said of Howrey’s Clownfish Serenade: On one level it’s gentle, silly, and seemingly slight. But as the pieces of action come together you realise this is a very shrewd take on such things as market forces, competition, tunnel-visioned ambition, and — outmoded concept! — co-operative venture for mutual benefit. This is intelligent, witty stuff with a sting in its tail. And here are some notices about his play The Fairy Tale Engineers: The fun of Howrey's playful and heartwarming new work is unraveling the labyrinth of overlapping details that culminate in alternately tragic and happy endings. Les Spindle, Backstage West Howrey's lyrical use of language illustrates that allegory doesn't need to be explained - its world is true to itself. . . . exquisite, breathtaking sequences . . . RECOMMENDED. Alison Merkel, L.A. Weekly Sounds weird, right? Well, it is, but it’s also wise, funny, and touching. It may not be everyone’s cup of tea, but I loved it enough to see it twice, and weeks later, I’m still discovering new subtleties, complexities, and layers of meaning. Brian Howrey has written a unique and mysterious work, and a delightful musical score that sometimes sounds a bit like "Johann Sebastian Bach meets Loony Tunes." Ted Flagg, The Pink Sheet Brian’s work has been performed at a variety of venues in the U.S. and abroad, including Theater of Note in Los Angeles, the Trap Door Theatre in Chicago, the Moray House Kabaret on the Edinburgh Festival Fringe and the Kitchen, WAX and HERE in New York City. He has received individual grants from the Belle Foundation for Cultural Development and the Puffin Foundation, and he was nominated for the late, lamented L.A. Weekly's Theatre Award for playwriting for The Fairy Tale Engineers.

bkhowrey

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Brian Howrey (B. K. Howrey when the composer hat is on) was born and raised in Houston, Texas and studied music and theatre at Dartmouth College and the California Institute of the Arts. His music theatre pieces have been praised variously for their "Rube-Goldberg-like interplay" (Randy Braun, Backstage West), for being "strangely funny, surreal, thought-provoking and romantic" (Christopher Small, Triple F, the Fringe Guide), and for having "genuine echoes of Samuel Beckett" (Richard Scaffidi, Dramalogue). Mary Brennan of the Herald, Glasgow, said of Howrey’s Clownfish Serenade: On one level it’s gentle, silly, and seemingly slight. But as the pieces of action come together you realise this is a very shrewd take on such things as market forces, competition, tunnel-visioned ambition, and — outmoded concept! — co-operative venture for mutual benefit. This is intelligent, witty stuff with a sting in its tail. And here are some notices about his play The Fairy Tale Engineers: The fun of Howrey's playful and heartwarming new work is unraveling the labyrinth of overlapping details that culminate in alternately tragic and happy endings. Les Spindle, Backstage West Howrey's lyrical use of language illustrates that allegory doesn't need to be explained - its world is true to itself. . . . exquisite, breathtaking sequences . . . RECOMMENDED. Alison Merkel, L.A. Weekly Sounds weird, right? Well, it is, but it’s also wise, funny, and touching. It may not be everyone’s cup of tea, but I loved it enough to see it twice, and weeks later, I’m still discovering new subtleties, complexities, and layers of meaning. Brian Howrey has written a unique and mysterious work, and a delightful musical score that sometimes sounds a bit like "Johann Sebastian Bach meets Loony Tunes." Ted Flagg, The Pink Sheet Brian’s work has been performed at a variety of venues in the U.S. and abroad, including Theater of Note in Los Angeles, the Trap Door Theatre in Chicago, the Moray House Kabaret on the Edinburgh Festival Fringe and the Kitchen, WAX and HERE in New York City. He has received individual grants from the Belle Foundation for Cultural Development and the Puffin Foundation, and he was nominated for the late, lamented L.A. Weekly's Theatre Award for playwriting for The Fairy Tale Engineers.

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Brian Howrey (B. K. Howrey when the composer hat is on) was born and raised in Houston, Texas and studied music and theatre at Dartmouth College and the California Institute of the Arts. His music theatre pieces have been praised variously for their “Rube-Goldberg-like interplay” (Randy Braun, Backstage West), for being “strangely funny, surreal, thought-provoking and romantic” (Christopher Small, Triple F, the Fringe Guide), and for having “genuine echoes of Samuel Beckett” (Richard Scaffidi, Dramalogue).

Mary Brennan of the Herald, Glasgow, said of Howrey’s Clownfish Serenade:

On one level it’s gentle, silly, and seemingly slight. But as the pieces of action come together you realise this is a very shrewd take on such things as market forces, competition, tunnel-visioned ambition, and — outmoded concept! — co-operative venture for mutual benefit. This is intelligent, witty stuff with a sting in its tail.

And here are some notices about his play The Fairy Tale Engineers:

The fun of Howrey’s playful and heartwarming new work is unraveling the labyrinth of overlapping details that culminate in alternately tragic and happy endings.
Les Spindle, Backstage West

Howrey’s lyrical use of language illustrates that allegory doesn’t need to be explained - its world is true to itself. . . . exquisite, breathtaking sequences . . . RECOMMENDED.
Alison Merkel, L.A. Weekly

Sounds weird, right? Well, it is, but it’s also wise, funny, and touching. It may not be everyone’s cup of tea, but I loved it enough to see it twice, and weeks later, I’m still discovering new subtleties, complexities, and layers of meaning. Brian Howrey has written a unique and mysterious work, and a delightful musical score that sometimes sounds a bit like “Johann Sebastian Bach meets Loony Tunes.”
Ted Flagg, The Pink Sheet

Brian’s work has been performed at a variety of venues in the U.S. and abroad, including Theater of Note in Los Angeles, the Trap Door Theatre in Chicago, the Moray House Kabaret on the Edinburgh Festival Fringe and the Kitchen, WAX and HERE in New York City. He has received individual grants from the Belle Foundation for Cultural Development and the Puffin Foundation, and he was nominated for the late, lamented L.A. Weekly’s Theatre Award for playwriting for The Fairy Tale Engineers.

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Skills

Co
Composition
Digital Performer
Finale
Fr
Freelance Gig
In
Instrumental
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Experience Level

Composition
Expert
Digital Performer
Expert
Finale
Expert
Freelance Gig
Expert
Instrumental
Expert
LinkedIn
Expert
Microsoft Office
Expert
Music Theory
Expert
Pro Tools
Expert
Script
Expert
Soundtrack
Expert
Theme Tune
Expert
Mix
Intermediate
GarageBand
Intermediate
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Language

Education

Bachelor of Arts at Dartmouth College
September 1, 1984 - June 8, 1988
with Honors in Music
Master of Fine Arts at CalArts
September 1, 1989 - June 8, 1992
MFA in Music Composition. Did post-grad work in Theatre.

Qualifications

Add your qualifications or awards here.

Industry Experience

Media & Entertainment, Professional Services
    uniE621 Apprentice and Sorcerer Trip on the Light Fantastick
    Theatre-piece with music. In the thumbnail, puppet frogs start to emerge from the cauldron at the X-Perimental Theater in UMN's Rarig Center in Minneapolis. A clever apprentice helps an ineffectual sorcerer defeat the devil (?), leading to a rhumba. Some music: https://soundcloud.com/bkhowrey/apsoco-rhumba?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing&si=ec24733693e44a319e1827a4044693cb
    uniE613 Deviates from the Master Plan
    Yes, the first word of the title is a verb. This theatre-piece with music was performed in New York at HERE in 2004 and again at the Kitchen in 2005. A mute, water-starved mermaid enlists a laptop and a bound, blindfolded servant to keep her lubricated--the battle between a potted-geranium wielder and a woodland nymph intrudes. Here is some music: https://soundcloud.com/bkhowrey/woodland-nymphomania?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing&si=6579c6917e20438e9e0d465b98586244
    uniE621 Deviates from the Master Plan
    Yes, the title begins with a verb. This theatre-piece with music was performed in New York at HERE (pictured) and again at the Kitchen, with the roles of the Mermaid and Servant performed both times by Virginia Worley and Jeanine Moss, respectively. A mute, water-starved mermaid enlists a laptop and a bound, blindfolded servant to keep her lubricated--until a battle between a man with a potted geranium and a woodland nymph intrudes. Here's some of the music: https://soundcloud.com/bkhowrey/woodland-nymphomania?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing&si=857f828b0d6b4f42a94a32f20e4100a6
    uniE613 The Fairy Tale Engineers
    A play with music. Performed in L.A. in 2002 and nominated for several of the late, lamented L.A. Weekly's Theatre Awards. An unfinished fairy tale wants to end, turning upside down the lives of some time-hopping, polyamorous puppeteers. Here's the first entr'acte: https://soundcloud.com/bkhowrey/entracte-1-for-the-fairy-tale-engineers?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing&si=d005acffde23409bb3730d0ba6380dcb