Willamette University Theatre, September 2018
Dead City, written by Sheila Callaghan, is an ode to New York City and to a middle-aged woman - Samantha Blossom. This 90-minute comic drama — a hyper-theatrical riff on the novel Ulysses — takes place exactly 100 years to the day after Joyce’s jaunt through Dublin. Our jaunt through New York City shares Samantha’s relationships, fears, ambitions, aspirations. The sound design works betwixt and between the sounds of the city and Samantha’s dreams and desires.
Theatre 33, August 2018
Amanda Transcending, written by Connie Bennett, is the story of Joanne’s move to the coastal town of Yachats, Oregon. When Joanne realizes her new town was a destination of a Civil War Era forced march of the indigenous peoples to resettlement. This production focuses on the diaries of Corporal Royal Augustus Bensell and specifically the march of a blind and elderly Amanda De Cuys. Amanda was forced to leave her young daughter behind as she marched in dangerous conditions on treacherous terrain. Amanda’s story is told through the lens of Joanne’s desire to honor the historical people of Coastal Oregon through the establishment of Amanda’s Trail. The design bridges the historical with the contemporary as it attempts to support changes in location and cultural differences.
Martine Out of Time
Theatre 33, July 2018
Martine Out of Time, written by Nora Douglass, is a story of Martine and her place within a small northwest town. Martine, believes she is destined for something bigger. As the play progresses, we realize her inter-generational relationships with her mother and grandmother are cyclical and not so strange or small. The sound design goals include: establishing time and place, supporting Martine on her journey through supporting her thoughts and expressions, and to ground the audience in understanding the shifting characters played by the ensemble. The design also highlighted women composers of the early 20th century which provided the color and feeling of a northwest small town just off the interstate...
Theatre 33, June 2018
The Forgiveness Tree, written by Kathleen Tomko crosses three generations as mother and daughters attempt to forgive themselves and one another. The Forgiveness Tree was planted in memory of a WWII bomb dropped by a Japanese pilot. The sound design weaves the spirit world with the memories and journal entries of the mother, daughters, and sisters.
Willamette University Theatre, February 2018
Burn This was set in the 1980s. Wilson guides the designer with some specificity in cueing and from there, we attempted to establish the culture of 1980s New York City gay culture though transitional clips and samples.
Theatre 33, December 2017
Santa's Bag was written by two members of the company, Elizabeth Rothan and Allison Saucy as a children's piece. It discovers a toy forgotten in Santa's Bag year after year. The new toys deposited come and go while the lone toy remains. This year, the other toys find a way to ensure every toy has a home.
Theatre 33, July 2017
Nora Doglass' Shorn is a play that has no time or place. It incorporates cinematic images in the writing while each scene is a snapshot of the lives of the three characters. The sound design incorporates the cinematic styling with montage and layers of sounds.
36 Perfectly Acceptable Mealtime Conversations
Theatre 33, June 2017
36 Perfectly Acceptable Mealtime Conversations is a play in 36 scenes. It asks us to consider a wide variety of relationships and challenges within each relationship. It also asks us to challenge our gendered assumptions as performers change roles in order to further develop character. The sound design works with the text in developing the Karaoke atmosphere. It also develops a soundscape that establishes time and place for each each scene. Several Field recorders were made in the development of this piece.
Rosencrantz and Guildenstern Are Dead
Willamette University Theatre, September 2016
Rosencrantz & Guildenstern Are Dead is a journey. It is also a metatheatrical exploration. The sound design seeks to support the production in three parts: (1) Rosencrantz and Guildenstern's rhythm is developed from aural images of objects while (2) the court music and the dumb show music travels time and place, like the Elizabethan theatre, to build tensions and explore the emotional and physical sites in performance. Lastly (3) the players music embraces the English Madrigal tradition with live elements overlapping recorded textures and lyrical music.
Theatre 33, August 2016
Maresfield Gardens is a solo performance written and performed by Susan Coromel. Alone in Anna Freud’s consulting room, a woman comes to terms with her life in the shadows. Born into the Tiffany family fortune, Mary “Mabbie” Burlingham searches for the reasons that have driven her back to her Mother’s home shared with Anna Freud. Maresfield Gardens. The sound design highlights Mabbie's memories and supports the rhythm and layered texture of Mabbie's state-of-mind.
Salem Weekly Review
Willamette University Theatre, September 2016
bobrauschenbergamerica is a lovestory to and about the United States. Using the work of artist Robert Rauschenberg as our inspiration, the performance becomes a collage - a collombine - of Americana, American, America. The sound design is a tapestry of US composers, musicians, and atmospheres. Boundaries of high and popular art collide with the romantic, nostalgic, the patriotic, the urban, and the rural.
Successful Strategies or How to Make Love Stay
Theatre 33, August 2016
Successful Strategies is a contemporary farce. It asks us to weigh in on our life priorities. What does it take to stay in a relationship - to start a new one - to progress to the next logical place? What is logic in love? The play takes place in the Willamette Valley at a struggling vineyard with tensions between couples as well as the brain and the heart.
The Verona Studio & Play On! Productions, February 2016
Blonde Poison is a compelling one-woman-show based on the life of Stella Goldschlag, a young Jewish woman seeking to survive in Berlin during WWII. The design encourages the tension that stems from the decisions Goldschlag made, specifically to turn-in hiding Jews to the Gestapo, through lyrical underscoring of jazz and Schubert juxtaposed with hard accented aural elements like gavel drops, stormtroopers, and typewriters. From the initial design meetings, we felt strongly that the sound underscore cinematically and that it also support an urgency within the memories, nostalgia, history, courage, assimilation, and survival. The performances took place in a small end stage theatre and it was important for the sound to come from behind the performer in order to simultaneously embolden the action and push, pulse, and place into tension Goldschlag's memories and history.
*Best of San Francisco Fringe 2016