The End: A Short Musical Play is, as the title suggests, an album structured much like a musical. The album tells the tale of the relationship of Daniel and Katie, two people living in a large city. They have been in the relationship for about a year, but there are cracks in the relationship. Katie has been trying to find herself for 10 years in the city, while Daniel has been harbouring an insecurity due to his father leaving when he was a child. Despite their close relationship, the two of them seem to not communicate well, often ignoring or papering over issues instead of discussing each other’s troubles or facing their issues head-on. Each of them try, but it’s clear that they aren’t aware of their inability to communicate. This all comes to a boil when, due to a misunderstanding, they each believe the relationship is headed in different directions. As a result, they find themselves breaking up, their inability to communicate being the reason they don’t try to continue the relationship.

The concept was carefully considered throughout composition. It was important to allow time for movement across stage, provide a vamp to allow performers to deliver dialogue and utilize foley sound to build an image of a real space that the play takes place in. There are several strong motifs that recur throughout the play, with each character having their own motif. 

Scene I provides exposition to how Daniel and Katie regularly interact. Katie, the ingénue, doesn’t want to be tied down due to a fear of commitment, while Daniel, despite being older, isn’t really sure how to deal with this situation. He’s had the same plan for most of his life, marry and have a family. We find out, from his brother (Michael) in Scene II that this is from the childhood trauma of their parents divorce. As a result, Daniel is more comfortable ignoring smaller issues. Michael also acts as a foil to Daniel’s hopeless romanticism, possibly as a result of the same childhood trauma. This is reflected in the musical style of their character motifs. The dirge-like accompaniment in Scene III divulges the result of the play. The dramatic irony, combined with the overlapping duet should leave the listener uncomfortable and on the edge of their seat, waiting for the answer to not if, but when and how the relationship will end.


As it is written with the stage in mind, it is possible that it could be performed live. In order to make the performance as viable as possible, the short duration can be matched by an equally small number of cast members. The play requires three actors; two male, one female, and one pianist. The set and props are equally small in number, requiring a rotary dial phone, a table and a door. If electronics are unavailable, the actor on the other end of the phone call can deliver their lines from off-stage/up-stage (depending on the venue).

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