Portfolio

Caucasian Chalk Circle

Here is some of my work as Wireless Microphone Technician on Yale Repertory Theatre’s production of The Caucasian Chalk Circle by Bertolt Brecht.  As is my custom, these notes were printed on 3×5 index cards that I kept in my cargo pocket and used in order to reference what my duties were throughout the show.

 

These tasks were printed on 3x5 notecards that I used to keep track of my show duties.

In addition to being the “Mic Bunny” for a cast of 18, I was also in charge of tracking a wireless IEM receiver that served to provide spot sound effects for both a cellphone and crying baby. The receiver needed to travel both with its attached speaker and between the two speakers in order to be plugged in at the right time and achieve the effect.

CCC Track Cards p2

Fun notes: Due to some funky hats, multiple actors had to have their earpieces switched from one side to another as the play went on, since they played multiple characters and changed costume constantly. Also, one actor had to be taken completely out of mic halfway through the show so he could be given a bath onstage!

Published: 10/04/2015

The Circus in Winter

Some samples of paperwork from my time as a Wireless Microphone Technician at Goodspeed Musicals.

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A quick note and story about the 2 RF Schedules: During the run of the show, one of our actresses took ill and since there were no understudies, our stage managers and producers made the difficult decision to cancel a few performances and let her heal. She valiantly powered through after our break, but the production company wound up hiring an alternate to stand by for her.  Based on this, and the technology we were using, we had to have a quick way to get everything ready for Actress A or Actress B.  In my case, this just meant changing a few labels, getting the correct mic rig set up with her packs, and for my mixer, it meant he had to restore the correct gain and EQ settings.  For stage management, it meant helping Actress B with the cut track for this role that she had learned in A DAY. A DAY!  For wardrobe, this meant altering the entire costume back and forth between their sizes since there was only one, so I guess we had it easy! But thanks to Janine, the show went on, and everyone did their best to help make the transition smooth.

The run sheet details my pre and post show duties, the track cards are my preferred way of tracking my during show duties, printed on a set of 3×5 index cards on a binder loop (I stole this format from my wardrobe friends) that live in my cargo pocket.

Published: 25/11/2014

Les Misérables

Here is some paperwork from my time as Wireless Microphone Technician on Dallas Theater Center’s production of Les Misérables. Printed on 3×5 index cards for use in show. As you can see, I had both a lot and nothing to do at the same time! Sometimes my job was to switch a mic, sometimes just to be standing somewhere strategically to check someone’s mic placement without their really needing to know that that’s why I was there…you know the drill 🙂

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Published: 17/08/2014

Opening to Catastrophe

This piece was composed in the style of Young Jean Lee’s Theater Company for a hypothetical design of the short play Catastrophe, written by Samuel Beckett.  I imagined it as a prelude to this preparation of a play, hearing an orchestra tune up, getting the audience into the mindset of being at the theatre, but then abruptly reminding them that it isn’t all fun and games here.

Happy Listening!

 

(the drawing that serves as the cover art is also a Becca Stoll Original)

Published: 02/04/2014

The Crucible

This is a sample from my design for Arthur Miller’s The Crucible, directed by Tony McKay at Carnegie Mellon.

The design concept for this production was that while Miller’s written words speak for themselves, the transitions between acts were used to shed light (and sound!) on the playwright’s allegory, comparing what happened in Salem in 1692 to what was happening in the US in 1953. To achieve this, I created my own blend of eerie natural soundscape combined with music that, at the time, was responding to the heated political climate of McCarthyism: movements like minimalism and musique concrète in classical music, and composers like Morton Feldman, Steve Reich, Philip Glass, John Cage, and others.

At the end of Act One, as the girls of the town begin shouting the names of persons they have allegedly “seen with the devil,” their voices begin to reverberate around the audience and engulf them in the chaos.  When the excitement finally reaches its crescendo, a character onstage sounds an alarm bell, the lights dim, and a line of actors move to the front of the stage and sing the hymn “Jesus Shall Reign” while the set changes behind them.  Finally, the loud bells and chaotic winds give way to a peaceful, serene soundscape, and the lights come up on the house of John Proctor, where we begin Act Two.

Happy Listening!

Published: 03/10/2013