I had the opportunity to work as the Sound Designer for TCU's production of Silent Sky in Fall 2019. In creating the sound elements, I paid attention both to the explicit sound needs outlined in the script and the ways that I could help to enhance the director's concept of the show (including the emphasis on the many dichotomies in the script (heaven vs. earth, art vs. science) and Henrietta's breaking free from her physical and earthly limitations).
To the right, I have attached a link to a Youtube playlist that showcases some of the songs I pulled from throughout the show. Additionally, I have included some of the sounds that I created as original "pieces" for this production. The first sample is of the star sequences that complement the lighting and play during Act 1, Scene 2 of the play when Henri, Annie, and Williamina chart stars. This is an example of my goal to create the endlessness and wonder of the universe and to give characterization to the stars. The second sample is of the hymn "For the Beauty of the Earth" played using the star tones used earlier in the show. This hymn serves as a motif throughout the show, and I chose to combine it with the star tone sounds in order to show that bridged gap between heaven and earth in the moments leading up to Henri's death and final monologue. Last is an example of the ocean liner sound effect, simulated with a French Horn sound (rather than using a historical sound ) in order to maintain the symphonic atmosphere of the play.
Costume Design: Alex Colig
Scenic Design: Ashley Cranefield
Lighting Design: Brenna Booker
Director: Grant Lattanzi
Photographer: Amy Peterson
Henrietta Leavitt: Lauren Messemer
Margaret Leavitt: Julia Light
Peter Shaw: Brayden Raqueño
Annie Cannon: Brooke Arnold
Williamina Fleming: Ashlie Whitworth
Some of my favorites from the above YouTube playlist are "Happiness Does Not Wait" by Olafur Arnalds and "I Hear a Symphony" by Cody Fry. I chose to use "Happiness Does Not Wait" as an underscore during Henrietta's final monologue to emphasize the poignant victory and bittersweet eagerness demonstrated in this monologue. I utilized "I Hear a Symphony" as an underscore during the fantasy ocean liner scenes to emphasize the dreamy elements of the scene and to provide clarity between fantasy and reality.
I had the opportunity to work as Sound Designer for the world premiere of Miss Molly by playwright Christine Carmela at TCU under the direction of Mattie Parker. In Christine's words, "Miss Molly is a farce in the style of Oscar Wilde." To the left is a playlist of the major songs from which is pulled to create the sound design. I sought to gradually modernize the music--starting with Bach violin music and gradually adding electronic strings and modern sounds/music--to reflect the contrasting Victorian and modern eras found within the play itself. Due to COVID-19, the show could not be produced as intended, but this represents the created design pre-execution.
In Fall 2019, I enrolled in a Scenic Design course. I have included samples of some of the models I constructed during the course. To the right, you can see my design for A Moon for the Misbegotten by Eugene O'Neill and for an adaptation of the fairy tale "The Red Shoes."