All shows are in chronological order. Please see my resume for dates -- it will get updated before my portfolio.
Gaieties 2018: Jane Stanford and the Chamber of Secrets
co-design with Allen Wehner
Directed by Charlie Dubach-Reinhold
This production relied heavily on sound to create magical illusions. Each character had a different magical power, so we created a different sound that reflected that power but also felt cohesive. The overall design was evenly divided, but for execution, my co-designer took the lead on effect creation, while I focused on engineering. I focused on setting up, micing, and EQing the band, as well as giving overall mix notes. This division allowed us to both have ears on the entire design but with each of us focusing on a particular aspect of the design.
Speaker Plot: ArrayCalc, This PA was a d&b V series LCR line array hang with 6x flown subs splitting center. We added 2 front fills as well as under-balcony fills. This allowed us to get an even spread in the room while still allowing for LR panning for SFX and the band, and strong localization to the stage for vocals in the center array.
Reviews: Stanford Daily
Angels in America, Part 2: Perestroika
Directed by Vineet Gupta
This production balanced the hyper-realistic and the hyper-theatrical while aiming to create one cohesive world. Each act was framed by the sound of a tuning viola that, when the characters began to build their new world around them at the end of the show, finally settled. Each naturalistic scene had suggestions of their location that would fade in and out, either creating quiet for characters to inhabit or preventing them from doing so.
The angel wore a DPA-4061, hidden and processed with reverb and delay. This had the unexpected, but welcome effect of modulating the voices of those near her, adding another element to how she modulated the world around her.
Speaker Plot: This speaker placement allowed us to localize sound from nearly any part of the room. The effects speakers were highly effective in providing a contrast to the sounds of the angel, which seemed to come from all directions and were often accompanied by a seat-shaking rumble from the subwoofers below the seats.
Reviews: Stanford Arts Review
"The soundscape of the play... aids in this delicate balancing act, adding just the right amount of unearthly music and bone-rattling bass to settle us into a spiritual world." - Minh-Anh Day, Stanford Arts Review
A Raisin in the Sun
co-design with Sara Huddleston
Directed by Harry J. Elam, Jr.
This was a sparse sound design, allowing for the acting and text to stand alone as much as possible. In order to maintain this realism, we used several speakers inside and behind set pieces to localize various effects and keep them in the world of the story. Between scenes, we used various jazz songs from 1959 to create a musical narrative sculpted around Charles Mingus's "Better Git it in Your Soul", which framed the show.
Drums of Passion
Reviews: Stanford Arts Review, Stanford Daily
Doctor Voynich and Her Children
By Leanna Keyes
Directed by Claire LaMadrid
This show took place in a postapocalyptic world. Because of this, we planned to use various bird and other natural sounds to indicate the time of day. These were sometimes kept a sub-perceptible level to be removed to allow the actors voices to fill the space, allowing their words to resonate fully in the space. Since having very active sounds under scenes would have been distracting to the audience, I put the sound of a stream in one sonic location through most of the show. This helped ground the show in space and allowed me to take that sound out to give the characters more sonic space to inhabit.
Speaker Plot, Cue List, QLab
Directed by Gabe Weider
A central part of the director's vision was highlighting the contrast between the performative and the realistic. From a sound perspective, this was achieved by creating two distinct processing paths for actors' voices that were dynamically changed throughout the show and by creating underscoring for select moments, highlighting either the realism or the lack thereof.
Next to Normal
Directed by Nathan Large
1 good voices moment
The Last Five Years
Directed by Zoë Sonnenberg
Presented in the round in a small theater with limited pipe space, one of the biggest challenges of this show was allowing for a consistent sound across all four audience banks while also not interfering with other departmental needs (ie lighting). Using boom-style microphones allowed us to have a consistent, isolated sound, giving a lot of headroom to mix with. The band was also miced, but since they were in the room, and the room was quite small, they were more reinforced than amplified. Another challenge with this show was that it was double-cast, with two actors for each of the roles in the show. Each of the four performances had a different cast, and the actors playing the same roles had vastly different voices and styles of singing.