I think of sound in performance as an actor—it can dynamically direct attention to create new social and physical realities. My designs prioritize perception over everything else, such that I only care how an audience member receives a sound and not how I created it. I am interested in atypical speaker placements, non-diegetic effects, dynamically evolving compositions, and more techniques that give stage presence to sounds themselves.
Even so, I work tirelessly to make sure that my sound designs meet the essential requirements of performance. At Wesleyan University, I managed a sound inventory of easily over $20,000 of equipment and engineered up to twelve productions a semester. I personally sound designed numerous plays and musicals as well, and I mounted a senior thesis in theatrical sound design called No Replica that featured 19 speakers in one immersive space.
For Eurydice, I sampled old chamber recordings to represent the degredation of memory and exploited microphones to disorient the audience.
For No Replica, my senior thesis in theatrical sound design, I substituted autonomous recordings for performers to explore a new aesthetics of recorded media in performance.
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.