Joel Hirschhorn Award for Excellence in Musical Theatre (2012, LA Drama Critics Circle)

6 LA Drama Critics Circle Awards for Musical Direction

3 LA Weekly Awards for Musical Direction

3 Backstage West Garland Awards for Musical Direction

2 Ovation Awards for Musical Direction and Sound Design/Composition

(Complete list of credits and awards HERE)

Here’s what the press has to say about David’s work:

“David O’s much-anticipated “A Map of Los Angeles” in its world premiere performance was an immediate hit, with not the standard standing ovation, but one in which the audience leapt to its collective feet a fraction of a second after the last, fleeting “dta, dta, dta” in a mighty cheer, the excitement level bubbling over into intermission. The work is divided into six segments that flow without break: Introduction (Map I); Los Los Angeles Angeles (a pun on the two ways the city’s name is pronounced by the two dominant cultures living here, and double-punned with a reference to the “Los Angeles Angels of Anaheim” which was accompanied by notes struck on the chime by a baseball bat toting Theresa Dimond – hey! a triple-pun!); Bus Interlude (Map II); The The Tar Tar Pits (another pun on the double cultural name overlay); Meditation (Map III); and El Cementerio Evergreen – with the chorus intoning the last names he found at Evergreen while walking down the rows of tombstones, alternating Anglo and Latino names in a rhythmic chant, that began with a Mexican Folk Harp solo played by Sergio “Checo” Alonso, accompanied by percussionists using real bones to provide the underlying tempo.”
(Douglas Neslund,

“David O performs his romantic, neo-Iberian score (for “Ubu Roi”) with flair, and it's a pity it's not on sale in the lobby. It fits seamlessly into the show yet easily assumes the spotlight in the large production numbers or power ballads that pop up from time to time.”
(Wenzel Jones, Backstage West)

“(David O’s music for “Hippolytos") came alive in the Malibu night air.... His score blended a cappella singing and vocal percussion.  As performed by the small chorus, the music created an evocative mood that managed to sound both ancient and modern at the same time.”
(James Taylor, KCRW)

“The music (for LaChiusa’s “The Wild Party”)... is made all the more wondrous by the hiring of David O, our town’s own most prolific new composer for the new century, as musical director.  Seated onstage at the keyboards during the performance, O and his exceptional band lead the way…”
(Travis Michael Holder, 

"The chosen orchestration for this revival [of “The Fantasticks”] is piano and harp, David O and Liesl Erman respectively, who create an infinitely rich musical journey. The delicate pianissimo phrases in “Metaphor” are breathtaking and “They Were You” begins as softly as a caress before building to a lush duet and then circling back from whence it came. Both accompaniment and vocals contain gorgeous phrasing. There is poetry in the sound of Ashley Park’s voice and wonder in Conor Guzmán’s.
Sexy innuendo gives way to a driving accelerando in “I Can See It” as music director David O.’s virtuosic piano performance explodes with unrelenting energy underneath Guzmán and Rodriguez’s long legato vocal phrases until the number turns into a three-way tour de force performance. The harp, as moonlight, beckons both lovers and audience into the forest in a beautiful make believe castle scene for “Soon It’s Gonna Rain,” (Guzmán’s exuberant charm bursts from every pore) and although Park sings the phrase “happy ending,” Schmidt’s minor melody foreshadows the pain to come.
The score is full of texture and when a musical director and ensemble can reveal the many twists and turns within the musical with such tenderness and honesty, you want to be there to be moved right along with them.”
(Ellen Dostal, Musicals in LA)