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Marconi |
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| There was also a particular sound challenge in the "character" of Marconi, the primitive and capricious wireless. From the very first production meeting the director, Monica Bell, and scene designer, Todd Dicken repeatedly referred to the texture of the play. Mud houses, thatched roofs and rural Ireland in 1936. I reacted to this by using period recordings of the script specified music for Marconi. The rough, low fidelity sound of the recordings seemed to be the sonic version of a thatched roof. |
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This is a
1930's recording of the Frank Gilliam Celi Band playing “The Mason’s
Apron” for the dance scene. The music started on stage in a small
"Marconi" speaker then increased in volume and entered the surround
system for the frantic build, ending abruptly as Marconi
suddenly stops.
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This is
Artie Shaw’s instrumental version of “Dancing in the Dark.” It had to be
edited to both coincide with the actor’s lines and to be over 6 minutes
long instead of 4.
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The same
kind of edits were needed for Paul Whitman’s “Anything Goes.” Only song
titles were specified, not artists or versions.
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Please click on the links below for more details and concepts of my design for Dancing at Lughnasa. |
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This was also the debut of Professor Steve M. Zapytowski and my collaborative design for an 8 channel surround system in Wright-Curtis Theatre. For you techies who like such things, click on the links below.
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| System Drawing 1 |
| System Drawing 2 |
| System Drawing 3 |