Andrew Edwards is a composer who – after starting out his career in Chicago, moving to Connecticut, then NYC, then back to Chicago – finally landed in LA, a couple of minutes ago. His music lives at the intersection of Depeche Mode and Steve Reich. Or the Cocteau Twins and Bernard Herrmann. Or New Order and Jerry Goldsmith. 

(Actually, he just sounds like him.)

Drew composed the music for the feature documentaries; Message from the East (2009), Bailout (2013), Alex & Ali (2016), 85: The Greatest Team in Football History (2018), and Defending A Monster (2018), as well as the narrative features, Scary Normal (2013), Market Value (2017), and the forthcoming horror-comedy, Camp Wedding (2018). His work in narrative short films can be heard in, Mike India Alpha (2013), Bowes Academy (2013), Get The F K Outta Paris (2014), Knockdown (2015), Spell Claire (2017), and The Quit (2018), as well as the award-winning short documentaries, Pressure (2017) and Harv (2017).

Drew was an instructor of interactive and game music in Columbia College’s MFA Music Composition for the Screen program for many years, and has collaborated on several ground-breaking video game projects: With Doris Rusch and the Deep Games laboratory at DePaul University he created the music and sound design for the therapeutic video game, Soteria – Dreams as Currency and its VR companion (2014). Soteria is designed to equip sufferers of anxiety disorders with the tools they need to conquer fears in their everyday lives. It won several international awards, including a Bronze medal from Serious Play, for its innovative approach to both games and therapy. They followed this with his music and sound for the sickle-cell awareness mobile game, Blood Myth, which emulates the experience of climbing a mountain with sickle-cell disease through conventional video-game mechanics. He shifted from psychiatry to theatre, with his work on the Macbeth-based side-scroller, Something Wicked. This was his first collaboration with EB Hunter, and led to their work with Microsoft and Northwestern University, and the creation of Fabula(b). With Fabula(b), presently, Drew is creating the music and sound design for their immersive storytelling experience, Bitter Wind, which will bring a Greek tragedy to life through state-of-the-art holographic mixed-reality technology in the Microsoft HoloLens.

Mr. Edwards created the music for the web series’, Trep Life (Inc. Magazine), Dorkumentary TV (Tarleton/Dawn), and The Open Mic (some comedians). His work has been heard on television and in theatres across the country in the trailers for Bride FlightPeabody & Sherman, and Promised Land, as well as in many national commercials. Drew created the music and sound design for the original audio dramas, Doctor Who: The Companion Chronicles – The Wanderer (Big Finish Productions/BBC), and Graceless II (Big Finish). Additionally, he has contributed music and sound for the General Admission and Nerdette podcasts, as well as the Curious City broadcast, for WBEZ radio.

From 2008-2012, he was the Composer-in-Residence for Chicago Tap Theatre. In collaboration with the company – and award-winning Artistic Director Mark Yonally – he wrote the music for three full-length “Tap Opera” story shows: Little Dead Riding Hood (2009), Eyes Without A Face (2012), and Love Taps (2010), which was remounted in 2014. He also provided original music and sound design for The Hourglass and The Poisoned Pen (2008) and Changes (2011), in addition to several original pieces for holiday and concert performances. In his last year with CTT, he established and music directed their first live touring ensemble, performing regularly with them across the country. Drew has also collaborated with choreographers Martin Bronson, Richard Ashworth, Kendra Jorstad, and Lin Shook Schalek.

His concert piece, The Glacier Sequence, premiered at the Kennedy Center in 2011 by the US Army Band “Pershing’s Own” Contemporary Chamber Ensemble, and continues to be a staple of their repertoire. His symphonic orchestral piece, The Paris Incident, received its world premiere by the Urbana Pops Orchestra on July 23rd, 2016.

Drew’s music has been heard on the theatre stage for many years, including two original full-length musicals with Jennifer Bechtel, Scarlet Lines: A Gothic Musical (1997) & Kala: A Musical Faerie Tale (2003), and the twisted one-man cabaret show, Fitz & Walloughs Get It In The End! (2007), with Micah Bucey and Paul Hagen. He composed the incidental music for Athena Theatre’s productions of Metamorphoses (2008, LA) and True West (2010, NYC), as well as original music for productions of The Laramie Project (NYC, 2006), The Skriker (UIUC, 1995), Wait Until Dark (UIUC, 1996), and many more.

Mr. Edwards holds a Bachelor of Arts in Music Composition/Theory from the University of Illinois at Urbana-Champaign, and an MFA in Music Composition for the Screen from Columbia College Chicago. He lives in Sherman Oaks, CA with his husband, Andrew (yes, we know), and their beloved cat, Max. 

The Blue Police Box Music Team

Publicity – Tyler Green

Associate Producer – Stephen Tanksley

Assistant Producer – Connor Cook

Assistant Producer – Landen Seesahai

Max the Cat

Past Team Members

Associate Producers

Jon Brennan

Gabriel Dib

Jordan Lewis

Logan Stahley

Music Preparation

Matthew A. C. Cohen

Brittany Dunton

Steven Melin

Jesi Nelson

Steven Spiel

Sergei Stern


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