Here’s a link to a piece I wrote for Stage Directions Magazine about a production of Invisible Cities by the LA Opera company The Industry.
And the first paragraph, as an amuse bouche:
Los Angeles is a cultural capital. Driving through its many streets and highways, you can’t help notice all of the creative projects (large and small) that are happening all around you. There are light festivals on the beach, performances in parking garages, concerts on street corners and theatre in city parks. Recently, that list got expanded with an opera performed in a train station.
I’m in the middle of a small series (two pieces, maybe more) of articles for Stage Directions Magazine. Each one is a profile of a different designer, and the first one is published in the July ’13 edition. You can check it out here.
And, an excerpt, to wet your whistle:
Jane Shaw has a problem. Two problems. Well, challenges, really. Shaw, a sound designer based out of New York City, is designing a new production of N. C. Hunter’s 1951 play A Picture of Autumn for The Mint Theater. Like most productions, this one has a couple of looming question marks for both the sound designer and the production as a whole.
It’s been a busy spring for me this year. I’ve got a number of interesting projects that are moving forward in different stages of completion.
A few weeks ago, Miss Julie opened at the Geffen Theatre in Los Angeles. The text is a world premiere adaptation by Neil LaBute, and Jo Bonney directed it. The text is faithful to the Strindberg original, but the period/location has been moved up to 1929 NYC. Overall, the project was a success, and there’s some great old music for you to listen to!
Right now, I’m sitting in a studio in downtown NYC, getting ready for a video shoot for a video installation piece called Trade is Sublime. Luke & Kristine Hegel-Cantarella are producing the piece, which is about how we buy and sell goods in the modern world. The piece will first be installed in the headquarters of the World Trade Organization in Geneva, but will then hopefully make its way to art galleries around the world. We’re shooting video in NYC, so I’m in town helping out with some musical prompts, but I’m also collecting field recordings from which to make the soundscore.
Also, I’m digging back into developing If We All Agreed On What Was Good, a sound installation piece that my soundart collective Push The Button is creating for the World Stage Design conference in Cardiff in September. I think that the aural backbone is nearing completion, so soon we’ll get to move onto more robust content and control development. And, of course, as always, funding. We’re always looking for funding.
I headed into Westwood today for the first rehearsal of Miss Julie at The Geffen. It was one of the better-attended first readthroughs I’ve been to recently. Three out of the four designers were in attendance, and there were quite a few members of the literary & production staves also around. Neil LaBute couldn’t make the read, but he’ll be around next week.
Before and after the read, Jo and the designers had small group meetings with each other and some of the production staff, and I’m really looking forward to putting this design together. There’s a lot of great opportunities for design in making the kitchen and the environs come to life, and I look forward to making that happen.
During the run, I took a lot of notes on things to do, so I have a laundry list now – I need to research graphical data systems, contact closures, loudspeakers, and of course, music. I’ll keep posting here as I progress through the design. Check back often!
Check out the article here.
In related news, I’m looking forward to working again with Laura Heisler, who played the AI so beautifully in Build last fall.