SOUND DESIGN

Please scroll down to see select sound design work.

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Photo by: Isaac Ramsey

THE IMPORTANCE OF BEING EARNEST

Otterbein Theatre & Dance 2024

Sound Designer

Director: Mark Mineart

Lighting Design: Rae Lake

Scenic Design: Isaac Ramsey

Costume Design: Mary Yaw McMullen

Stage Manager: Hannah Hahn

Additional Production Information:

  • Production was housed in a 1000+ seat proscenium style theater.

  • Led and trained students on set up, operation and tear down of audio equipment.

Input/Output Sheet distributed to A1.

Final version of the sound cue sheet distributed to A1 & SM.

QLab excerpt.

A MIDSUMMER NIGHT’S DREAM

Otterbein Theatre & Dance 2024

Sound Designer

Director: Mark Mineart

Lighting Design: Kyle Krygielski

Scenic Design: Isaac Ramsey

Costume Design: Rebecca White

Stage Manager: Libby Carroll

Additional Production Information:

  • Production was housed in a 1000+ seat proscenium style theater.

  • Vocal effects housed in the Yamaha M7CL were used on Bottom’s voice after his transformation in the show. Clip coming soon!

A QLab excerpt from an early version of the sound design.

An early version of the sound cue sheet that was distributed to stage management and the A1.

Photo by: Chad DiBlasio

DEATHTRAP

Weathervane Playhouse 2023

Assistant Sound Designer/Sound Engineer

Director: David Baghat

Sound Design: Casey Palbicki

Lighting Design: Paige Vick

Scenic Design: Jonathan Allender-Zivic

Costume Design: Laine Stultz

Stage Manager: Dorie Bloodworth

Additional Production Information:

  • Production held in a 3/4 thrust, black box-esque theatre that had a capacity of approximately 300 people.

  • Sound designer for the production worked entirely remotely, meaning that I was his ears for how everything sounded in the theatre itself. Since the designer was completely remote, he gave me a lot of freedom to make choices about creating sound cues and how they played out in the space. My absolute favorite part of this production was creating the thunderstorm sequence in Act II of the play. The designer equipped me with all of the sound files needed, and I was able to build the final product of how the storm sounded in the production in QLab.

Excerpt of the Act II thunderstorm sequence.

*Contains spoilers for production*

Sound cue sheet.

QLab excerpts.

Photo by: Isaac Ramsey/Mark Mineart

OUR TOWN

Otterbein Theatre & Dance 2023

Sound Designer

Director: Lenny Leibowitz

Lighting Design: Kyle Krygielski

Scenic Design: Gabriela Ahumada

Costume Design: Rebecca White

Stage Manager: Aaron Mendoza

Additional Production Information:

  • Entire production moved from 1,000+ seat proscenium theatre to a 245 seat 3/4 thrust black box stage after production work and rehearsals had begun. This was due to a major flood that occurred on our proscenium stage. The show was redesigned and reworked to suit our new performance space. Additional show dates were added to accommodate our subscribed patrons.

  • Heavily involved sound design due to the nature of the show itself. The director wanted the sound design to really highlight and enhance the show since, due to the more simplistic and traditional version of Our Town’s scenic design, other design aspects were more bare bones; at one point referring to the sound of the show as “the mind of god”.

  • Foley recorded some of the sound effects for this production.

QLab excerpt - Stage management preferred sound cues to be labeled as letters.

Final version of the sound cue sheet distributed to SM & A1.