These are some examples of sound design work I’ve done for various productions across the Bay Area over the course of the last ten years. While much of the work is synthesized, I also work with recorded and manipulated acoustic instruments, as well as professional effects catalogs.
You’re Going to Bleed: Theme and variations on an arrangement of Aaron Copland’s “Hoedown” from Rodeo with sampled sounds from the stage action.
World Music: Recorded and edited acoustic instruments on character-driven thematic elements. The award-winning play World Music relates the experience of one man during the Rwandan genocide. The story is predominately told in flashbacks. The sound design attaches an instrument with a location setting; for example, scenes in the Brussels’ apartment have a motif played on the clarinet. The transitions and scene changes are marked by a blending of instrumentation and motives. Each of the instrumentalists was recorded separately before the creation of the sound cues. The resulting effect highlights the asynchronous quality of memory.
Release the Kraken: In this comic theater mash-up of the classic films Clash of the Titans and Clerks. Most characters paralleled those of either movies, including a Teddy Ruxpin in place of Bubo the metal owl from Clash of the Titans. Teddy’s “speech” is only understood by the protagonist, Percy. Aiming to have his language sound as close to the original owl and C3PO from Star Wars, the sample clip is a cue in which Mr. Ruxpin spoils the ending of the film Citizen Cane.
Speed the Plow: A campy nightmare introduction for a recurring character using only manipulated synthesized sound.