• A Raisin in the Sun

    by Lorraine Hansberry

    Co-Design with Sara Huddelston

    Directed by Harry J. Elam, Jr.

    Lights by Tony Shayne

    Set by Erik Flatmo

    Costumes by Courtney Flores


    Photos by Frank Chen

    Department of Theater & Performance Studies at Stanford University

    Roble Studio Theater, Stanford, CA


    The design concept for this show was fairly straightforward. The sound aimed to create realism in the scenes and connect them with period appropriate musical transitions. Our production was specifically set in 1959, so we found jazz and blues from that year for the transitional music. For the diegetic music, we aimed for music that was a little older, to allow for the characters' nostalgia.

    The aim of much of the design was to convey realism. Since the audience was only a few feet from the stage, this required us to localize all diegetic sounds. To achieve this we added speakers behind the set, and in set pieces underneath the phone and record player. This allowed us to localize those sounds and, especially for the record player, to easily distinguish between that location and the main PA. The audience was in an 'L' shaped configuration relative to the stage, so we opted for 3 mini arrays to cover both audience banks, and placed the subwoofers behind the each of the outer arrays. We supplemented these with surrounds at each of the corners of the house.

    Prior to the proper start of the show, one of the actors read the poem "Harlem" by Langston Hughes, in the script as an epigraph, and from which the title quotes. For this moment, we had the actor speak into a Golden Age Project R1 Active MKIII, an active ribbon microphone that provided both the sound and look we were aiming for. To help round out her voice, we added just a little reverb.


    I initially signed on to this project to be the Assistant Sound Designer. Early on in the process I sourced much of the transitional music and was often the only sound representative at production meetings due to scheduling challenges. Because of this work, Sara approached me before tech to let me know she felt it would be more fairer this to be a co-design. I agreed, and we proceeded from there as equals. Though there was potential for conflict, it was an extremely smooth process, eac