Sound Design - 2011
As You Like It - UWM PSOA Theatre
William Watson, Director
The sound design for this Shakespeare comedy consisted of three songs written to the poems found within the text. I re-arranged them for the production and worked with the actor/musicians who performed them live.
Heroes - Milwaukee Chamber Theatre
C. Michael Wright, Director
The signature sound cue for this character study of three French World War 1 veterans plotting their "extended" walk/escape from the home where they stayed was a flock of geese that approached from upstage and flew over the audience.
Sins of Sor Juana - UWM PSOA Theatre
Jenny Wanasek, Director
Nothing remains of the sound design for this play exploring the life of Sor Juana Inéz de la Cruz. However, I recall creating soundscapes that included abrstracting the sound of quill pen on paper that maintained the feel of the actual sound but heightened to the point of musicality.
No No Nanette - UWM PSOA Theatre
Anthony Horne, Director
Aside from supporting a maniacal self-aware vacuum cleaner with appropriate turning on, revs and turning off (which did get very silly and involved a lot of pitch sweeping), the bulk of my work for this musical was in reinforcement. 12 wireless mics and an 8 piece orchestra managed by UWM's Tascam DM4800 digital console and a talented student mix technician.
The Last Days of Judas Iscariot - UWM PSOA Theatre
Rebecca Holderness, Director
Judas Iscariot's ultimate fate is determined in a purgatory style post apocalyptic courtroom drama. Witnesses include Mother Theresa, Sigmund Freud and Satan. UWM's staging of the play had the set placed askew in the theatre with portions of the seating bowl cordoned off with huge sheets of translucent plastic. Audience entered though a permanent vom, requiring them to take a rather long walk though the somewhat creepy lower hallways of the theatre building. I addition to the unusual configuration of the sound system due to the odd placement of the action, I placed speakers along the entrance halls that broadcasted the kinds of announcements and ambience that you might find in a post-apocalyptic purgatory style court building. The effect was sufficiently unsettling. The show also contained one of my favorite cues of all time. Satan entered through a rising staircase (think the opening sequence of The Munsters) accompanied by a large amount of fog and red, flickering lighting. The sound of the hell mouth opening was a montage of discordant tones, screams of agony, wails of despair and general torture. Alas, the archive of this show was also lost in the great data débâcle of 2012.
Crumbs from the Table of Joy - Renaissance Theatreworks and Uprooted (co-produced)
Dennis Johnson, Director
Brooklyn in 1950's ambience made up a large part of this play about a middle aged man finding religion and a socio-politically volatile choice of love interest. 1940's classic vocal tracks and actual radio broadcasts of the day were used to set the scenes. I still use the Brooklyn ambience for general urban backgrounds.