Theatre has always fascinated me as a way to explore the role of sound and music in shaping movement and the description of a scene. Composing for theatre allows me to experiment with how music interacts with the stage and narrative, offering a perspective on sound that goes beyond traditional structures.
The original music for Murder on the Orient Express (2026), directed by Andrej Cvetanovski and based on Agatha Christie's celebrated novel in a dramatization by Ken Ludwig. The production follows Hercule Poirot as he unravels a crime aboard a snowbound train — but beneath the suspense lies a deeper question: where does law end and justice begin, and what does it cost a person to answer that for themselves.
An original music for The Mayor (2026), directed by Dino Mustafić & written by Adnan Lugonić, premiered in National Theatre Mostar. The play revisits the life of Mujaga Komadina, a merchant, builder and Mostar's first autonomous mayor - set against the backdrop of the Austro-Hungarian occupation. It explores themes of political pragmatism, cultural identity and the quiet resilience of a man who chose to build rather than burn.
PULS (2025) is a documentary play, directed by Ermin Bravo, that explores the complexity of communication through music, movement, and the personal stories of seven performers. It opens shared spaces between deaf and hearing communities by examining how we listen, perceive, and express our inner worlds. For this production, I composed the original music with live improvisation
For the theatre production The Merchant of Sarajevo (2025), directed by Michal Dočekal and written by Igor Štiks, I composed the original score inspired by the journey of the Sarajevo Haggadah and its lasting place in Bosnian cultural memory. The play explores themes of heritage, identity, and resilience, and working on it allowed me to approach these ideas through sound. It premiered at the National Theatre of Sarajevo.
The original music for Disgraced (2020), directed by Dino Mustafić and based on Ayad Akhtar's Pulitzer Prize-winning drama of the same name. The production follows a successful Muslim-American lawyer whose carefully constructed identity begins to unravel, exploring themes of Islamophobia, assimilation, identity and cultural tension. Composing for this production meant finding a sound that could hold that internal fracture.