I've known of the writing team Kerrigan and Lowdermilk for years, but had never collaborated with them until The Mad Ones, nor had I ever worked with Prospect Theater Company. In fact, I knew no one on the creative team. But from the first phone call between the director, Stephen Brackett, the composer, Brian Lowdermilk, and I, I knew we'd get along well. I immediately enjoyed Stephen Brackett's energy and vision, and Brian was inviting and open to collaboration and conversation. Especially when the project is a new musical, I find that open communication between the composer and sound designer is paramount to a healthy process and a positive outcome. While my knowledge of music theory and orchestration pales in comparison to Brian's, my understanding of frequency ranges and my focus on the overall sound of the show compliments his focus on the music to, hopefully, produce something that could only have come from our collaboration.