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.
This show was a challenging one at times. It was a fast tech process, plagued by sickness (we teched the entire show with our only male actor on vocal rest), but in the end, I was really proud of the sound of the show. I have to give huge thanks to my A1, Callan Hughes, who took on the Herculean task of loading the show in, mixing it, and being the A2, all with nary a complaint and always a smile.
Early on, Stephen and I talked about the possible role of sound cues in the show. Without spoiling a major plot point, which is revealed early on in the show, a lot of time is spent considering memory and the experience of remembering. As such, we discussed what role sound could play - what does a memory of sound sound like? Does it sound "normal"? If the memory is emotionally charged, how does that shape the memory of the sound? How should the audience experience these memory sounds?