I am a sound designer pushing the boundaries of technology in theater.

My experience in music dates back to high school, during which I trained in piano, violin, trumpet, music production, and composition. I was fortunate enough to have had training at NYU’s Clive Davis Institute for Recorded Music, Lagond Music School, Hoff-Barthelson Music School, and the Music Conservatory of Westchester. Nevertheless, I never worked in theater as I hadn’t had exposure to the performing arts.

I started sound designing for theater at Wesleyan University, where I worked on numerous senior theses, faculty productions, and student projects. I was the Sound Specialist for Second Stage, Wesleyan’s student-run theater production company, from Mar. 2017 to May 2019 (when I graduated). Through Second Stage, I managed sound equipment for up to twelve productions a semester and played a more intimate role on shows that required creative or technical help.

Wesleyan didn’t offer a focus in sound design, so I treated the shows I worked on as opportunities to experiment with new techniques in design. I explored speaker placement, diegetic and non-diegetic audio, Foley, the physicality of low-frequency sounds, responsive compositions (that evolved or changed on cue), complex microphone setups, voice overs, soundscapes, underscoring, and more. My experience at Wesleyan culminated in my senior thesis, No Replica, which was a sound performance that reconceptualized performance as a perceptive phenomenon and used immutable sounds to replace actors. No Replica went up from Dec. 6-8, 2018.

I used my liberal arts education to specialize in several elements of theatrical production. For sound, I studied theory, ethnomusicology, ludomusicology, experimental music, and sound design through courses in the Music Department. In the Theater Department, I had extensive exposure to performance studies and studied lighting design and drafting. My work through Second Stage earned me deep administrative experience, wherein I personally advised shows and played a leadership role in the technical direction of several productions.

A number of individuals have significantly influenced me to pursue sound and theater in greater depth. I want to take this moment to acknowledge them and thank them for their support and mentorship: Calvin O’Malley Anderson, Barbara Berg, John Catoliato, Anthony “Rusty” Cloud, Anthony Dean, Michael DeVito, Kate Galloway, Brian Landrus, Tatiana Longo, Cláudia Tatinge Nascimento, Bo Pericic, and Maddie Ulevich.

For No Replica, my senior thesis in theatrical sound design, I substituted autonomous recordings for performers to constitute a new definition of performance based on perception.

For Eurydice, I used subtle changes in lighting to replicate the slow-moving texture of sunlight through clouds or water.

For Rhinoceros, I integrated speakers into the audience seating and exploited the phenomenology of sound.

For 99 Histories, I split recorded instrumental parts into several sound sources to test how speaker orientation affects emotion and perception.

For The Pillowman, I collaborated with local rappers to devise original interludes that comment on the show's themes.

For Little Shop of Horrors, I engineered high-quality audio from live musicians and singers using limited resources in an acoustically-unfriendly space.

For An Intervention, I used juxtaposing soundscapes to deepen characterizations.

For Mnemonic, I employed numerous voice overs and sound effects to craft recorded realities.

See all of my theater credits.