In my research, I explored classical music (Franz Schubert, Jean-Phillipe Rameau, and Hector Berlioz) and modern gothic tropes (Dracula, 1931 and Wednesday, 2022) to create the sound design for this piece. I primarily looked for music that had piano, strings, and harpsichord to understand the structure of such music clearly. After discussions with the director, we decided there should be a clear delineation between the interior and exterior scenes. For the interior-focused scenes, we utilized the feeling of structure and rigidity with the minimal use of my composed piano, cello trills, and harpsichord pieces. The music was written in minor key to represent the darkness of the themes. Cello trill was used within the music and many other moments throughout the play to showcase the taintedness of their space and time. For the exterior scenes, I found beautiful string-based stingers to represent the endless, open space of the moors. Oppositely, the stingers were in major key. Though it is a comedy, the music wanted to feel dark and dramatic, which fully allowed the dark comedy to shine through. For Huldey’s concert-level power ballad, I reorchestrated the original piece in Logic using the given score to make it feel in line with the music written and found for the transitional moments. The song should feel as anachronistic as possible, so the director and I decided to add a rock and trap beat to the end to fully drive the point home.