![]() ![]() Because what happened next I can only describe as a complete surprise. He yelled, “We’ve gotta keep these college kids in the theater for three hours! Your brilliantly executed and lovely soundscapes will put them all to sleep!” You gotta hand it to Cole. Unfortunately, in my first attempts at intermissions, I didn’t make the gay republicans loud enough for Cole Wimpee. Provocative, no? But there are gay republicans in the play, most notably the legendary political attorney Roy Cohn. That was my first instinct for the sound design for this play. ![]() I put these dozen or so drum cadences into a folder called “Gay Republicans”. On top of those sounds, which the audience would have already heard and had been allowed to enjoy once again, I layered some music elements from the sound design for the show, notably, several distinctive drum cadences. There are four cues, because the first two I created were completely wrong! And I had to redo them!įor my first attempt at the Intermission Cues I created two ten-minute soundscapes incorporating background elements from the scenes just before intermission. And four of those cues are 10 minute soundscapes that I made for each of the two intermissions. What a dope! But I did remember the other 58 cues, so that’s not a bad batting average. But this time it was just me and Cole, and we talked through the script on the phone over the course of about six weeks, I took detailed notes, and I only missed one thing! I didn’t know there was supposed to be rain in Act 2 Sc 3. Some of my best friends are Aztec Economy. I am a member of Aztec Economy! (I went through an elaborate initiation ritual that I’m not allowed to talk about, but there was a coffin involved.) About eighty percent of my theatrical outsourcings have been with Aztec Economy. My dear friend Cole Wimpee, the brilliant director and most elevated thespian, was directing a production of the play, in partial fulfillment of his Master’s Degree, at the University of Arkansas.Īs most of you know, I’ve worked extensively with Cole Wimpee in the past, but always under the auspices of Aztec Economy. I just finished my work on the sound design for a new production of “Angels In America Part 1: Millennium Approaches”. ![]()
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