Lyons Pride - Ashland New Plays Festival | I worked with 3 different playwrights and directors to make and produce simplistic sound designs for their plays. This was my first time working on plays that were still being workshopped. The festival is presented in a table-read format so the design needed to reinforce the story without drawing attention.
Ashland - Ashland New Plays Festival | I worked with 3 different playwrights and directors to make and produce simplistic sound designs for their plays. This was my first time working on plays that were still being workshopped. The festival is presented in a table-read format so the design needed to reinforce the story without drawing attention.
A Long Time Coming - Ashland New Plays Festival | I worked with 3 different playwrights and directors to make and produce simplistic sound designs for their plays. This was my first time working on plays that were still being workshopped. The festival is presented in a table-read format so the design needed to reinforce the story without drawing attention.
20,000 Leagues Under the Sea | This production was the first time that I advised a production. I oversaw the initial design and engineering of the show remotely with students at Hampshire College in Massachusetts. I worked completely remotely with the team across the country for many weeks to produce this show.
Connections - Oregon Center for the Arts | I engineered a dance concert. I made a speaker plot that could be utilized by multiple different designers to convey very different soundscapes.
Oregon Fringe Festival 2024 | I was a technical engineer for Oregon Fringe Festival ‘24. I worked personally with dozens of performers in 7 different venues over the course of one week in order to make their fringe performances possible. I worked with limited resources, time, and knowledge of venues across the city in order to put on these shows for the public.
Pericles - Oregon Center for the Arts | I was a Sound Advisor to a team of sound crew. I instructed and oversaw the sound design and engineering of the production. I directly advised both the Sound Designer and the Sound Engineer in both the physical work as well as working with the rest of the creative team, the musical director, and the director. The production was an original musical with a live band. We managed 22 wireless mics on 26 different actors.
The Wolves - Oregon Center for the Arts | The Wolves was the first time that I worked on a show in an arena format. The play follows a soccer team through their season. I designed a 3d soundscape that brought the actors as well as the audience into the indoor soccer field.
Xanadu - Oregon Center for the Arts | Xanadu was my BFA thesis project. I was the Sound Designer as well as the Sound Engineer. The musical had a cast of 16 all microphoned and roller skating. On top of that, the stage was temporarily converted to an arena style set. This means that the audience now sat around the stage in 360°. This made it possible to create immersive soundscapes using 16 speakers placed throughout the theatre. Not only did this immerse the audience with the show, it reinforced the actors performance in 3d space.
Sherlock Holmes and the Final Problem - Oregon Cabaret Theatre | I was the Assistant Sound Designer for Sherlock. I worked alongside professional designers from the Oregon Shakespeare Festival to create this show. This was the third show in a series that The Oregon Cabaret Theatre had put on. I quickly learned the artistic style of the first two in order to design an auditory world that fit cohesively in with the past shows.
