This was a slightly different collaboration than I’m used to. The initial email came from the production manager at Center Stage, asking if I’d be interested in co-designing with a Seattle-based designer, Brendan Hogan, who had designed a previous production of King of the Yees but would be unavailable to tech the show in Baltimore. The same director and design team were bringing their production from Seattle to Baltimore and they needed someone to work with Brendan to adapt his design for the different theater. Brendan’s programming was well-documented, so adapting his initial design for the new production and new space was a smooth process, allowing me to focus on making his content sound great in Baltimore and creating new content for moments in the show that had changed since Seattle.
The show is the embodiment of magical realism; there was barely a moment of the show that didn’t have underscore, and many of the actors’ movements were scored with punctuating sounds. It was a complex show, but the team at Baltimore handled it beautifully!