I am most interested in using sound design to help create atmosphere and environments, sometimes with a subtlety  that might not, initially, be noticed. The sound cue of crickets in my production of Ashes to Ashes took twenty-five minutes to go from inaudible to its final volume, the sound encroaching on the audience's consciousness so slowly that some thought it was coming from outside the building. The play Purple Hearts takes place almost entirely in a sunken ship and my design was likewise nearly continual, most of the time so subtle that the audience no longer noticed until one of the scenes taken place on land started. In those scenes, the sudden absence of sound-scape instantly altered the space, catapulting the audience into an entirely different environment.

Over the past ten years I have designed sound for a number of academic productions, including Machinal by Sophie Treadwell and Bedtime Stories by Charles Mee, as well as theatre companies in New York City and Providence RI such as Invisible City Theatre Company, Intentional Theater Company, Emergency Theatre Project, and Perishable Theatre.

The samples here represent my work from 2006 - 2009. In recent years, most of my sound design has been done using Figure 53's QLab. This means that the actual mixing of the sounds happens in real-time along with the performance. This is a much better performance solution than mixing various files into a single track prior to performance. However, this real-time mixing doesn't work well when trying to present samples of my work. The first two tracks, taken from The Strangler, are attempts at recreating the sound design generated by QLab but sped up considerably. The other files are ones that were mixed at completely and executed as a single track at show-time.   Despite the age of these samples, they give a relatively good idea of my overall style and aesthetics as a sound designer.

Because some of these are complex and subtly layered, they are best listened to with good speakers or headphones.