The Revolutionist
Directed by Nisi Sturgis
Linguistically, history and stories are actively present in the world today…
These characters are archetypes that work together to represent an empowering egalitarian image…
The people, or individual, are what spark revolution and change, whereas overpowering governing bodies represent stagnation and fear…
Breathe - association to the voice, shock, sighs or expelling, what are we expelling? Stifling, autonomic, freeing
Link to Design Presentation
A Darkling at Nightfall
A staged reading at the University of Illinois Urbana - Champaign
This staged reading of the script A Darkling at Nightfall by Mallory Raven-Ellen Backstrom had a semi realized production design that was used to set the mood and ground audience members in the world of the play.
The world ambience was used at pre show, intermission, and post show.
Track 13 by Shirley Graham
Comedy for Radio at the University of Illinois Urbana - Champaign
For my design of this nearly hour long play, I created an immersive experience by implementing sound and music from beginning to end. There is constant sound to pull the listeners into story. The director and I pulled inspiration from the Harlem Renaissance, Jazz music, and the sense of travel and quickness that trains evoke. With over 250 audio tracks and around 45 minutes long, this radio play was a wonderful challenge and experience to design for.
Agnes of God by John Pielmeier
at McArdle Theatre
Sound Design by Sarah Calvert
Before approaching the sound design of Agnes of God, I met with the director to talk about the many ideas and themes of the play. We both agreed that emphasis on the mind was important, as well as the effect Agnes has on those around her. The question, ‘What does the mind sound like?’ was asked, and how that sounds for each character. As the sound designer, I specifically did not want to give away anything to the audience about Agnes and the demons that she holds within. By doing this, the sound of both the Doctor and Mother Miriam’s mind’s could slowly develop, then dramatically change when Agnes reveals what she has done.
Link to Speaker Plot
On The Verge by Eric Overmyer
at McArdle Theatre
Sound Design by Sarah Calvert
For my sound design of On The Verge, I focused on the evolution of sound through time and how that translates to each of the young women in their own evolution. Each of the main characters has her own sound that sets her apart and reflects who she is, while evolving from beginning to end. As the main characters travel farther into time, the sounds of 1955 become more prevalent and are discovered more often by the female explorers.
This was a challenging show to design as my first realized design. I worked with the director and lighting designer to synchronize cues to achieve the visual and auditory effect that we were collectively going for.
Link for Cue Descriptions
Link for Osmosing and Radio Plot
Link for Speaker Plot
Into The Woods by Stephen Sondheim
Freelander Theatre
Assistant Sound Designer
As assistant, I created a library for the designer and I to pull sounds from. This was vital because the cue list had over 200 cues and required a lot of layers. I also worked on the more interactive cues, such as Cinderella’s Birds, the Prince’s Riding In sequence, and all of the Giant interactions and fight. For Cinderella’s Birds, the actress would say her lines and a cue would play the birds response. For the Prince’s, the actors would ‘ride in’ on their horses and several different cues would be called in response to them riding in, dismounting their horses, remounting, and spurring their horses off. Lastly, all of the giant sequences required major hit-marks that actors could recognize and say their lines in response to.
These cues were important because things like Cinderella’s birds, the prince’s horses, and the giant were lacking visual representation. The added auditory support aided actors in those scenes and added to the audience experience.
His Dark Materials by Philip Pullman - KCACTF Midwest Region Unrealized Design Competition
His Dark Materials is a play adaption from Philip Pullman’s series His Dark Materials. The overall production concept for my design of His Dark Materials reflects and emphasizes the feeling of the main character, Lyra and displays the dynamic evolution of her character from beginning to end. Within that change, there is a loss of innocence in Lyra as she matures into a young woman. Sound has to reflect Lyra’s arc through the play. By maturing she gains experience and loses her innocence. Sound conveys a sense of harsh realities and situations that Lyra is constantly placed into. Feeling her emotion in the environment of the space will further the expression of her perspective. The power of the play comes from the connection that we feel with Lyra.