{"id":123616,"date":"2026-04-24T09:05:28","date_gmt":"2026-04-24T13:05:28","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=123616"},"modified":"2026-04-22T21:48:42","modified_gmt":"2026-04-23T01:48:42","slug":"interview-sound-designer-composer-gurpreet-chana-talks-working-pleiades-theatres-karma","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2026\/04\/24\/interview-sound-designer-composer-gurpreet-chana-talks-working-pleiades-theatres-karma\/","title":{"rendered":"INTERVIEW | Sound Designer &#038; Composer Gurpreet Chana Talks About Working On Pleiades Theatre\u2019s Karma"},"content":{"rendered":"<figure id=\"attachment_123618\" aria-describedby=\"caption-attachment-123618\" style=\"width: 1200px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-123618\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Copy-of-REVIEW-2026-04-22T212635.597.jpg\" alt=\"Graphic for Karma by Aksam Alyousef, presented by Pleiades Theatre (Courtesy of Pleiades Theatre)\" width=\"1200\" height=\"628\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Copy-of-REVIEW-2026-04-22T212635.597.jpg 1200w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Copy-of-REVIEW-2026-04-22T212635.597-300x157.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Copy-of-REVIEW-2026-04-22T212635.597-1024x536.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Copy-of-REVIEW-2026-04-22T212635.597-768x402.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption id=\"caption-attachment-123618\" class=\"wp-caption-text\">Graphic for Karma by Aksam Alyousef, presented by Pleiades Theatre (Courtesy of Pleiades Theatre)<\/figcaption><\/figure>\n<p>Pleiades Theatre will present the world premiere of Syrian-Canadian playwright Aksam Alyousef\u2019s Karma at Theatre Passe Muraille. The play takes the stage from May 1 to 17, directed by Ash Knight.<\/p>\n<p>The story revolves around themes of family, the trauma left by a civil war, and forgiveness. How are we shaped by the circumstances of our lives?<\/p>\n<p>It\u2019s set in 2012, and follows Adeeb, a young man who was born in Canada, but believes he lived a previous life in Syria. His mother, Karma, is Syrian. She\u2019s troubled by what she sees as mental health problems, and pressures him into denial.<\/p>\n<p>But, as an adult, Adeeb persists in his belief, and he travels to Syria in a move that forces both his mother and he to confront both the past and present.<\/p>\n<p>\u201cThere is a quiet possibility that life is not a single flame but a returning light,\u201d says playwright <strong>Aksam Alyousef<\/strong> in a statement. \u201cThat we might inherit the burdens we helped create. That every judgment plants a future in which we stand on the other side of our own certainty. If this is so, then cruelty is only a debt deferred. Compassion becomes the only form of freedom.<\/p>\n<p>\u201cTo see this play receive its world premiere with Pleiades is deeply meaningful to me. Their commitment to bold, thoughtful storytelling creates the right space for these questions to live on stage, not as abstract ideas, but as human encounters shared with an audience in real time.\u201d<\/p>\n<p>Director <strong>Ash Knight<\/strong> adds, \u201cThis is the second collaboration between Aksam and Pleiades, the first where we have been fully involved in the development of the work. Aksam brings years of experience as a theatre practitioner around the world, and with his talents now in Canada, we are stronger for it. With Karma, Aksam brings to life a complex story, with poetic language. The piece is a challenge for artists and audiences alike, one that will leave everyone who experiences it moved and aware. The play explores themes of forgiveness and trauma, and Aksam does this without ever preaching or handing us the answers. He asks the questions, and hopefully, we find the answers together.\u201d<\/p>\n<p>LV caught up with composer and sound designer Gurpreet Chana to talk about his work on this complex story that takes place in multiple locations and times.<\/p>\n<p>KLoX performs Falling Live at Koerner Hall postlude concert:<\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/owt4BiLORXY?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<h2>Gurpreet Chana<\/h2>\n<p>Hamilton-based musician, technician, composer and performer Gurpreet Chana\u2019s music blends centuries old traditions with modern technology. He adds the mesmerizing rhythm of the tabla to the music of many cultures and genres.<\/p>\n<p>Gurpreet began his study of the tabla since the age of three, and trained in the Punjab Gharana. He uses the venerable instrument to connect with the many musical styles he\u2019s surrounded by in contemporary Canada.<\/p>\n<p>It\u2019s led to many musical collaborations across the globe, including studio sessions with artists like Nelly Furtado, Tanya Tagaq, Niyaz, Bombay Dub Orchestra, Jorane, Kiran Ahluwalia, DJ Starting from Scratch, and legendary UK DJ\/producer Bally Sagoo.<\/p>\n<p>Gurpreet has created a digital fusion technique called tablixing, which integrates the tabla to custom software. He expands on the concept in kLoX, a creative partnership with classical violinist Robert Mason. The duo explores the relationship between classical instruments and digital composition, resulting in music that is infused with a variety of sources, including tech house, drum &#8216;n&#8217; bass and dubstep. He\u2019s developed his method into TABLIX, an integration of tabla and digital technology.<\/p>\n<p>Chana is also one of the leading proponents of the Hang, a Swiss instrument that is both percussive and melodic.<\/p>\n<p>Bach Prelude performed by Gurpreet Chana and Aaron Larget-Caplan at the Banff Centre:<\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/34z4A0KTI94?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<h3>Gurpreet Chana: The Interview<\/h3>\n<p>The play, as Chana explains it, is a story about intergenerational trauma \u2014 but also interdimensional trauma. Different lives are lived in different dimensions.<\/p>\n<p>\u201cThere are quite a few layers for it,\u201d he says. \u201cOne of the actors is going between different lives.\u201d<\/p>\n<p>The sound design provides a kind of sonic backdrop to the action on stage.<\/p>\n<p>\u201cThe main [&#8230;] sense of the story takes place in Syria, a large part of it,\u201d He works with the creative team, considering various elements of the production to come up with ideas. \u201cOnce the picture got a bit clearer, working with the other design partners, and the director.\u201d<\/p>\n<p>He considered styles of music from the region, with attention to the details specific to Syrian music.<\/p>\n<p>\u201cWhether it\u2019s for the whirling dervishes, or the Sufi practice, there\u2019s a lot of nuance as to how it\u2019s practised in Syria as opposed to how it\u2019s practised in Turkey, for example,\u201d he explains. \u201cWhat are some of the specificities that can place us into Syrian music in particular?\u201d<\/p>\n<p>He\u2019s working with various other artists in developing the soundscape. \u201cI\u2019ve also been lucky to be working with the Canadian Arabic Orchestra.\u201d The involves conversations with the music director along with a few of the orchestra\u2019s musicians.<\/p>\n<p>\u201cIt was interesting to get an idea what\u2019s similar, what\u2019s different,\u201d he says.<\/p>\n<p>It\u2019s about using sound to create a sense of place. \u201cHow do we give a sense of place and location?\u201d<\/p>\n<p>The details include using the musical scales as well as instruments of the times and places depicted in the play. That includes Syria during the civil war as well as an interdimensional space. \u201cThen, I\u2019m taking a few liberties. [&#8230;] I\u2019m still keeping the music informed in Arabic culture, but making it more contemporary, or doing fusion things,\u201d he explains.<\/p>\n<p>He thinks of it as separate worlds, but which also exist within the of the play as a whole. \u201cThat\u2019s been a way to organize it in my head.\u201d<\/p>\n<p>In addition to location and space, there are other elements in the play to take into account. \u201cIn this play, there is some multimedia stuff going on,\u201d he says. That includes projections and lighting effects that go along with the music. \u201cWe\u2019re still figuring out how all of that comes together, being in rehearsals right now.\u201d<\/p>\n<figure id=\"attachment_123617\" aria-describedby=\"caption-attachment-123617\" style=\"width: 1200px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-123617\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Gurpreet-TABLIX-Pic3.jpg\" alt=\"Tabla player and composer Gurpreet Chana (Photo courtesy of the artist)\" width=\"1200\" height=\"783\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Gurpreet-TABLIX-Pic3.jpg 1200w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Gurpreet-TABLIX-Pic3-300x196.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Gurpreet-TABLIX-Pic3-1024x668.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2026\/04\/Gurpreet-TABLIX-Pic3-768x501.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption id=\"caption-attachment-123617\" class=\"wp-caption-text\">Tabla player and composer Gurpreet Chana (Photo courtesy of the artist)<\/figcaption><\/figure>\n<h3>Direction Notes And Details<\/h3>\n<p>Most of his notes, naturally, come from the director.<\/p>\n<p>\u201cHe doesn\u2019t like to pre-deliver the emotion of the music. The goal is not to pre-tell the story musically too much. So, as much as we want to give it away, we don\u2019t want to give it away too much,\u201d he explains.<\/p>\n<p>It won\u2019t be like your average horror movie, in other words, where the music will announce what\u2019s about to happen. \u201cWe want to support and tell the story, but don\u2019t give it away,\u201d he says.<\/p>\n<p>It\u2019s an interesting challenge.<\/p>\n<p>\u201cVery much so. It\u2019s so subjective. It\u2019s an interesting challenge \u2014 I don\u2019t want to say it helps to keep it minimal; I think that\u2019s more of a design choice.\u201d<\/p>\n<p>Knowing how director Ash Knight works helps. \u201cThis is the second time that I\u2019m working with the director,\u201d he says. \u201cIt\u2019s filtering some of the decisions I\u2019m making.\u201d<\/p>\n<p>His first step is to delve into research.<\/p>\n<p>\u201cI come from an Indian classical music background,\u201d he notes, \u201cwhich is different than Arabic music.\u201d He points out there are some similarities. Some of the Arabic scales have Western equivalents, for example, but others are more similar to Indian music. \u201cThat\u2019s been really helpful to the composing side of things.\u201d<\/p>\n<p>Along with the Canadian Arabic Orchestra, he\u2019s been working with other Arabic artists, and licensing some music, including tracks from a Lebanese oud player now based in Montr\u00e9al. \u201cWhen I heard it, it kind of hit me \u2014 this would be perfect for the dream world.\u201d<\/p>\n<p>Chana is also using common Syrian folk instruments such as the ney, a reed flute. \u201cAny instruments that I\u2019m choosing when it comes to traditional instruments, we\u2019re making sure they\u2019re having a connection to Syria,\u201d he says.<\/p>\n<p>\u201cI\u2019m being a bit strategic in how I\u2019m approaching the design.\u201d<\/p>\n<h2>Performances<\/h2>\n<p>Karma takes the stage from May 1 to 17, 2026 at Theatre Passe Muraille.<\/p>\n<p>Content note: Mature language &amp; content. Age recommendation: 14+. Tickets start at $15, with a tiered pay-what-you-can structure.<\/p>\n<p>Karma is directed by Ash Knight, starring Basel Daoud, Andrew Iles, Zaynna Khalife, Tony Nash, and Christina Tannous.<\/p>\n<p>Karma will feature scenic and projection design by Lucas Arab, costume design by Arianna Lilith Moodie, sound design by Gurpreet Chana, stage management by Jennifer Stobart, and production management by Carlos Varala, with costume volunteer Jasmine Bough.<\/p>\n<ul>\n<li>Find show details and tickets [<strong><a href=\"https:\/\/www.pleiadestheatre.org\/karma2026\" target=\"_blank\" rel=\"noopener\">HERE<\/a><\/strong>].<\/li>\n<\/ul>\n<p><strong><em>Are you looking to promote an <a href=\"https:\/\/www.ludwig-van.com\/toronto\/advertising\/\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #0e101a;\"><u>event<\/u><\/span><\/a>? 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