This play featuring an ensemble cast follows three couples seeking love and meaning in their lives.  They find that there is a difference between love and true love and that a way out of love is not always possible.  Each couple faces the troubling situation where one person loves the other more than they love them.  Sound was used to underscore the often present and highly dramatic narration of the play.

 

(a love story) (2013)

Sound Design

Dontrell, Who Kissed the Sea (2013)

          This play featuring an ensemble cast follows the young Dontrell who has wild and fantastic dreams featuring an African slave who is thrown overboard during the Middle Passage.  He find that this captive is his ancestor and vies to rescue this troubled spirit from the Atlantic.  The play examines how his family reacts to this decision and what it means to be a hero.  Sound was used to set each scene and provide dramatic underscoring.

 

           In this one-woman play, Sophie Treadwell beckons the audience to follow her on a journey to her past travelling the the harrowing trials and tribulations she faced in her life.  Sound was used to manifest Sophie's building mental clutter as well as the voices of her past encounters.

Treadwell: God's Little Lies (2010)

The play opens with Sophie at her typewriter facing building tension and insanity.  It is as if the audience is a psychologist viewing her distress.

There were several moments where Sophie deteriorated into psychosis.  Many of those moments served as transitions into a new story.  This is an example of that.

Voices of acquantances and loved ones were heavilly used through the play.  This one is of Pancho Villa.

This sequence arrives as the finale of the play.  The ancestor emerges from the Atlantic after Dontrell leapt into the ocean.  The ancestor speaks to Erika directly with some underscoring.  When he finishes, the track crossfades to the musical piece "In a Time Lapse" by Ludovico Einaudi as all of Dontrell's ancestors emerge from the ocean in an intricate dance and deliver Erika home.

Upbeat hip hop music was strategically during scene changes to help provide energy during transitions such as this track by Gorillaz.  The music was referencial to the upcoming scene.

Each time the African ancestor appeared, this eerie and dynamic chant would be heard.

This track features the various distorted and grungy sounds that were used to underscore the narration during the play.  Samples from nature and guitar were used in this original compostion.

The play opens with the narrators introducing the play in the manner they always have.  The play begins and ends with a cycle in limbo.  Certain sound effects, such as those from plagues, are heard to echo the upcoming events in this original compositon.

As the action turns serious at the end of the play, certain characters begin to die.  This is underscoring for one of the death moments.

Directed by Paul Daily

Scene Design by Andrea Ball

Costume Design by Johna Sewell

Lighting Design by Katie Gruenhagen

Indiana University Theatre and Drama

Wells-Metz Theatre

Bloomington, IN

Indiana University Theatre and Drama

Wells-Metz Theatre

Bloomington, IN

Directed by Paul Daily

Scene Design by Andrea Ball

Costume Design by Johna Sewell

Lighting Design by Katie Gruenhagen

Photo by Indiana University

Photo by Indiana University

Photo by DC Theatre Scene

American Century Theatre

Goethe Insititut

Washington, DC

Directed by Stephen Jarret

Designs by Stephen Jarret/Melissa Flaim

Indiana University Theatre and Drama

Wells-Metz Theatre

Bloomington, IN

Photo by Indiana University

At the end of the play, the characters join the stage to sing a reprisal arrangement of the original music composed for the song "Cloud 9".  The actors bow and then sing the final chorus of the song encouraging the audience to be uplifted and contemplating their intricacies of human sexuality.

The second act is set centuries later in the 1970's while the characters have only seemed to age 25 years.  The audience hears the national anthem "God Save the Queen" until the scratch of a record occurs and The Sex Pistols intrude with their version of "God Save the Queen".

The play opens with the musically non-specific anthem "Come Gather, Sons of England".  The sound designer composed a four-part a cappella harmony for the actors to sing.  The song sets the scene in Victorian Era England with the characters demonstrating nationalistic pride.

           This play features a gender-distorted ensemble cast in two distinct time periods with developing personal identities.  This social and political commentary defies expectations in dealing with sex, gender, and relationships.  Sound was used to set time and location, fills transitions, and accompany live musical performance.  Original music was composed by Adam Cochran and Derek Jones.

 

Directed by Rob Heller

Scene Design by Andrea Ball

Costume Design by Robbie Stanton

Lighting Design by Carrie Jimenez

Cloud Nine (2013)

|SOUND DESIGN