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Twi McCallum – Sound Designer

Twi McCallum works on sound design for theater, post-production, audiobooks, and commercials. She has been freelancing since 2018 for Broadway, off-Broadway, and for regional theatres. Twi recently started working full-time at Skywalker Sound in sound editorial, and she will be relocating from NYC to the Bay Area.

Twi grew up in Baltimore and worked throughout high school at the National Aquarium, where she learned ocean conservation and marine biology. During the summers they created a play that was performed at local libraries. They would write the script, create costumes, backdrops, props, and music. This was Twi’s introduction to theater. She would go on to attend Howard University, where she found a class called TECH, where she became a crew member working behind the scenes for student productions. Twi remembers her first production, “my first tech assignment was a dresser for the musical Anything Goes, and there was a moment during invited dress when I was standing in the wings waiting for my actor to come offstage for a quick change. And I must have been standing in front of a speaker because I suddenly felt a wash of sound effects and music cascade over my body, and although I knew nothing about speakers, mics, or engineering at that time, I knew that’s what I wanted to jump into.”

Twi was working towards a Theater Administration major, studying things like stage management, producing, and technical theater. “At the time, my focus was costume design, which is laughable now, but there were no sound design professors and I failed my lighting  and scenic design classes which is why I dropped out of school and moved to New York.”  Twi would eventually graduate from Yale School of Drama’s one-year sound program in May 2021, which was virtual due to covid.

Her first job in NYC was a technical apprenticeship at a dance company called New York Live Arts, which was the first time Twi learned the fundamentals of audio such as how to stand on a ladder to hang a speaker, using a c-wrench, dropping a file into QLab, what an XLR cable is, and the basics of a mixing console which was the Yamaha DM1000. Twi says she knew she wanted to be a sound designer “because I was more moved by watching the dance performances than I was mixing them, and of course, getting yelled at as a mixer because nobody talks to the sound person unless they need to scold.”

When the apprenticeship ended, Twi worked as a stagehand at the Manhattan School of Music while sending her resume to a bunch of theaters that Twi said: “I was grossly underqualified for.” Her first design gigs were for Cape May Stage, TheatreSquared, and Kansas City Reps– all regional theaters that took a chance on her.

During covid, Twi took a post-production internship at a foley studio called Alchemy, and because of that opportunity, she was immediately hired as an apprentice sound editor on two scripted television shows for NBC and STARZ which allowed me to join Motion Picture Editors Guild Local 700. Those jobs qualified her to be hired at Skywalker Sound.

What did you learn interning or on your early gigs?

My one quirk is that I write everything down… when I’m at work I’m constantly scribbling in a notepad. My first job in New York was a technical theater internship (although criminally underpaid and abusive) at a dance company called New York Live Arts. It was my first time learning the basics of audio, and I still have my notebook from 3 years ago. I wrote down everything I learned…what does this button on the Yamaha DM1000 do, this is how many pins an XLR cable has, this is what a cluster is vs what a line array is. There is nothing embarrassing about needing to take notes, and there were times that it saved me because someone on the staff would ask me a question about the system that nobody else could answer but there it was in my trusty notebook! Even when I transitioned into post-production last year, I began keeping a typed journal of things I learned every day. My first professional television gig was as a sound apprentice on STARZ’s The Girlfriend Experience season 3, and the first thing my sound supervisor taught me was the importance of making region groups in ProTools for every episode. A year later, I still refer to those instructions whether I’m working on a professional tv show or an indie film.

Did you have a mentor or someone that really helped you?

My first mentor in theater sound was Megumi Katayama. There was a time in my life 2-3 years ago when I didn’t know any sound designers and I was emailing as many of them as I could find to inquire about their process. Megumi was a recent Yale MFA graduate when we met, already making strides with sold-out productions. I told her that I wanted to apply to Yale, so she invited me to assist her on production at Long Wharf Theater, which allowed me to tour and interview at Yale for my application. To this day she is still the only designer I’ve ever assisted.

My other theater sound design mentor is Nevin Steinberg, a legend, known for mega Broadway shows like Hamilton, Hadestown, and Dear Evan Hanson. When I emailed him as a fan with no major work experience, he called me on the phone the next day to my surprise, and since then he and I have talked at least every few weeks the past 2 years, sometimes just to make sure I’m emotionally okay.

In post-production, my biggest mentors are Bobbi Banks (ADR supervisor), Dann Fink, (loop group coordinator), and Bryan Parker who is a Supervising Sound Editor at Formosa Group and spent 6 months training me in sound effects and dialogue editorial. As I begin a new journey at Skywalker Sound, I admire Katy Wood, who I plan to work closely with over the next year.

I would be remiss if I did not mention that mentors also show up outside of my craft as a sound designer. The folks who always recommend me for big jobs, introduce me to directors, and take care of me in the workplace are costume, scenic, and lighting designers like Dede Ayite, Adam Honore, David Zinn, Clint Ramos, and Paul Tazwell. I advise any sound girl to reach out to other artists outside of audio to build a robust community.

Career Now

What is a typical day like?

In theater, I typically spend two weeks prior to tech being hands-on preparing for a production. This includes chats with the director, conceptual meetings with the scenic & lighting designers, group production meetings, and visiting rehearsals as often as possible. I also do a lot of paperwork such as cue sheets, console files, gear lists, and ground plans. Tech is typically 1-2 weeks long, and thankfully the theater industry is progressing away from the brutal 10 out of 12-hour workdays and six-day work weeks. Tech means stepping through every page of the script with all of the actors fully encompassed in the design elements. Then, there are usually 1-2 weeks of previews, which means a short rehearsal during the day to fix notes and a public audience performance in the evening.

How do you stay organized and focused?

My calendar is the key to me staying organized, Google calendar works miracles. As lame as it sounds, I maintain a daily, weekly, monthly, and annual to-do list. Annual to-do lists may feel overboard, but you’ll feel rewarded when the holiday season arrives and you realize you accomplished a long-term goal that you visualized 10 months prior. I am still learning to stay focused while acknowledging focusing doesn’t need to look the same for everyone. When I’m working from home, I like sitting on my couch with my laptop and listening to my tv in the background so I don’t feel alone. The best advice about focus that I’ve gotten from artists: spend 15 minutes every day in complete silence (from a costume designer), and try spending the first 1-2 hours every day that you wake up without any technology (from a playwright). Reducing social media usage has become critical for me, especially the drama of Instagram and Facebook.

What do you enjoy the most about your job?

What I love the most about theater sound design is sitting in the audience watching my show and being swarmed with the real-time reactions of the audience. The laughter, claps, cries, and yells, especially if it’s a result of a perfectly timed sound effect, assure me that I’ve done a great job. In theater, you will hear lots of designers say this theory, “The design is good when you don’t notice it.” But I disagree with that because there’s a line between noticing when your design is bad versus noticing when your design is compelling the storytelling. I like to believe we go to the theater to not only notice the actors but to enjoy the physical world of the play (scenic and costumes) and visceral world of the play (lighting and sound). I want the audience to notice my gunshots, earthquakes, music transition, spaceship takeoff, alarm clock, etc because they’re small yet inspiring parts of the bigger puzzle. For example, I designed a production of STEEL MAGNOLIAS at Everyman Theater and my director was adamant about the big gunshot moment, so I drove the point home and made it terrifying. I loved reading the performance reports via email from the stage manager every night that noted the audience jumping and holding each other at the surprise of the gunshot.

What do you like least?

In theater, I dislike the lack of budgeting of time and money from producers, production managers, directors, and other folks in power. Money is always used as an excuse for why designers, including sound designers, cannot be given the resources, staffing, and pay to properly do our jobs. There’s also a disregard for equitable scheduling of pre-production, rehearsal, and tech that impacts our personal lives.

What is your favorite day off activity? 

I play a lot of zombie video games (team PlayStation), plus I spend time with my Goldendoodle and pet snails as my happy places in my personal life. I’ve been watching some television shows, which are new to me because I’m more of a film lover. It took me a month to finish The Walking Dead but it was worth it, and I love Money Heist, You, Pose, Judge Judy, Top Chef, and Squid Game.

What are your long-term goals?

In 5-10 years, my heart is gazed upon being a re-recording mixer and supervising sound editor for big-budget film, television, and video games. I’m leaving behind theater sound design to transition into theatrical producing, so I can focus more on my post-production career. Eventually, I would love to teach sound design at an HBCU.

What if any obstacles or barriers have you faced? How have you dealt with them?

“Making it” is hard. However, I like to believe many of us make it over that hump eventually. What I wished someone talked to me about 2-3 years ago is what happens AFTER “making it”. For me, the insecurities have not stopped. At 25 years old and well-accomplished for my age according to other people… I am still comparing myself to others, taking it really hard when I don’t get hired for a particular show, and constantly wondering if I will maintain a career of longevity. And as a woman of color, surrounded by men as well as white women who have consistent streaks of accomplishments, I feel this sense of failure more often than people imagine. There are days that I cry, I wonder if I should change careers, I question if I will ever outdo myself and my peers. It’s important that I’m real and honest about these things because I know I’m not the only woman of sound in the world to experience these growing pains. This is where making a self-care plan kicks in, often we discuss self-care regarding busy schedules and needing time off from work. But self-care is also needed as a reminder to love ourselves and balance the highs and lows of our careers, even the lows that we are embarrassed to talk to other people about.

Advice you have for other women and young women who wish to enter the field?

Try your hardest not to take underpaid jobs. Even when you are first starting, do not take a gig that does not pay at least the legal minimum wage. Money is important, despite being in a craft where we’re supposed to love what we do unconditionally. Women are already underpaid and under-hired in sound, which makes us even more valuable. Companies that thrive on underpaid labor should not exist. The only places you should “volunteer” your time are schools, mentorship programs, and community theaters, all with a grain of salt of course. If you ever need to weigh the tradeoffs of taking a certain gig, do not be ashamed to reach out to someone with experience to ask for advice.

Must have skills?

The most important skill, in theater and post-production, is being able to quickly learn software. This includes drafting software like Vectorworks and DAWS like ProTools. Once you learn the basics of the software you need for work, the next challenge is learning how to use them efficiently. “Shortcuts” become important in the workplace, especially in post-production when it saves you 60 seconds of labor if you know a keyboard hotkey compared to needing to navigate a menu for the same function. These skills are not simple to learn, so be gentle with yourself on this learning journey. There are manuals and flashcards for all software, even ProTools keyboard covers to purchase!

Favorite gear?

In theater, I love Meyer’s SpaceMapGo. I implemented the software on my Broadway play CHICKEN & BISCUITS, to help move music and atmospheric cues around the theater in a 3D motion. In post-production, a similar asset is a plug-in called Waves Brauer Motion.

Summary of accomplishments

More on Twi

Twi McCallum on Hiring Black Designers and Creatives

https://open.spotify.com/episode/2aZE4fsUKT3pwFm3VAE4PE?si=FSn-cQGRQ8KxmN-z88xBeQ

Twi McCallum on Hiring Black Designers and Creatives

An Interview with Twi McCallum – The Woman Behind the Letter 

On June 8, 2020, broadwayworld.com published Twi McCallum’s Open Letter to the Theatre Community on Hiring Black Designers and Creatives Twi McCallum Shares an Open Letter to the Theatre Community on Hiring Black Designers and Creatives.  I came across this letter the following day, and I have to admit that I was quite struck by the letter’s tone.  You really must read the entire letter for yourself, but I can tell you this:  Twi gets right to the business of letting the entertainment industry know that hiring a Black cast does not mean your EDI box is checked.  She writes that she’s, “tired of “inclusion” being exclusive to the actors, writers, producers, musicians, and dancers,” and that’s exactly the tone I’m talking about.  She’s tired of it, and who wouldn’t be?  The play does not stop at the stage.  As everyone knows, that’s only the beginning, so why isn’t this inclusivity reaching backstage, to the shops, the design studios, etc.

I’ve seen this letter pop up in my social media feed several times since the first time I read it, and I’ve re-read it a few times.  Each time I did, I couldn’t help but thinking, “I wonder who’s reading this and what they’re doing about it.”  I reached out to Twi because I wanted to know more about her thoughts behind this letter, what made her write it, and what did she hope to accomplish with it, and I wanted to know what makes Twi tick.  She graciously agreed to be interviewed, and here’s what she had to say:

You recently wrote an open letter to the theatre/arts/entertainment community on hiring black designers and creatives.  Can you talk about your impulse for writing that letter?

The contents of the letter have been thoughts I’ve had drafted in my iPhone’s notepad for about 2 years, and sentiments I’ve felt since I was in undergrad (before I dropped out.) I attended Howard University, an HBCU, in their technical theater program. Although I was at a Black college, the school’s focus was to serve the acting students, so I was often told, “nobody cares about the designers and technicians” as if I shouldn’t use my artistry as an activism platform the way the performance majors were encouraged to. Here I was, about four years later, seeing a fantastic video from a Black Broadway actor going viral on social media, speaking out about racism he’s experienced. However, it was a little discouraging because Black actors are often given the platform to speak out. The thought of “representation” in entertainment is often limited to seeing Black actors, writers, directors, producers, musicians, and dancers getting big roles. Artists like me who work behind the scenes and are often nameless are seldom included in this “representation” picture. The letter is still evolving, I have several drafts of it and I plan to republish it next summer with a review of how I think the industry has progressed (or not) over a year.

Did you expect the letter to be so widely received?  What was your reaction to that?

I still have no idea how “widely” my letter has been received, especially since I intentionally have not opened the links where it’s been published– I learned as a teenager not to read reviews and comments because some people intentionally say unkind things. BroadwayWorld posted on its Instagram page that they were opening their writing slots to Black people in light of the uprisings, so I saw that as my chance to write an open letter through the lens of a Black femme (and disabled) sound designer who works in theater as well as tv and film. I also submitted the letter to a few Black publications, who surprisingly did not publish my letter, which I assume is because they focus on highlighting actors and directors and don’t care about the Black artists who work behind the scenes. That rejection was a little discouraging until I started getting emails from veteran sound designers, former teachers, and regional theater companies that I worked for. I am still afraid of getting blackballed, but so far all of the responses from my network have been positive and encouraging. I’m sure that every minority designer can relate to my sentiments about physical abuse, sexual harassment, delayed payment, and wondering why a show with a Black cast/director has no Black designers. I chose not to name-drop particular companies where I experienced blatant racism, but I’m sure they all read it and wept.

What kind of responses have you gotten from industry folks?

Most of the responses from industry people have simply been to the effect of, “great job using your voice eloquently” and “you are a great role model.” I’ve also been invited to speak on a few panels since my letter was published, and my proudest result has been joining the EDI committee of Theatrical Sound Designers & Composers Association. Moving forward, I am trying to collaborate with the non-Black veteran designers to figure out ways to get more Black designers into job slots at regional and off-Broadway theaters in the upcoming seasons.

Who are your mentors, and why?

I have four mentors, who all have been warm and gentle towards me in different capacities. In no particular order: Nevin Steinberg, who has passed my resume along for at least 1 design job, and texts me every once in a blue moon to check-in, which goes a long way for me. Megumi Katayama, who took a chance and hired me as her design assistant at Long Wharf Theater in November 2019. I was grossly under qualified at the time but I was able to learn so much and being able to put that show on my resume opened doors for me. Mike Backhaus, the sound supervisor at Yale School of Drama, is a fantastic resource for all the engineering and mathematics-related sound things I haven’t mastered yet–he’s terrifyingly intelligent. Finally is Wingspace Theatrical Design, an advocacy organization for professional directors and designers based in NYC, and I’m being mentored by Sinan Zafar and Kate Marvin who have already helped me make important decisions in my career like unions, school, books to read, etc.

Can you describe the most comfortable and most equitable collaborative artistic situation for which you have been worked on?

My favorite production so far has been Frankenstein at Kansas City Rep in March 2020, we made it to opening night and then closed due to the virus. This is my first LORT stage as a sound designer, so I had big shoes to fill. This was not a “Black” production, both of the performers/writers were non-Black. The director was a non-Black woman, and I was the only Black designer on the team. When I saw the promotion for the show on the KC Rep website before arriving for tech, I was terrified because I had already convinced myself I was out of place. However, the organization didn’t make me feel like their token teammate. They trusted me, I got paid on time, it was a safe space to ask questions and expect a respectful response, my sound team picked me up when I fell short, and overall that level of comfort allowed me to produce my work to the best of my ability.

It’s a common discussion in this industry that once the “old guys” are gone, the upcoming younger generation will be able to enact real change for future generations.  What is your response to this scenario?  Do you think there is hope for meaningful change while the “old guys” are still here, or is it too late?

To an extent, I see many of the “old guys” helping to create real change for future generations. Of course, there are still racists popping into the conversations especially on social media, such as the situation with the Black producer who wanted to hire a Black film editor and got backlash from veteran White editors. At least in the sound design network, some of the old guys are showing up for EDI conversations and speaking up about the tangible actions they can take, such as making a commitment to bring on an emerging Black designer for one of their regional productions in a future season.

Job access is a multifaceted issue, including stems like pay disparity (because minorities are expected to work for free), education level, and access to expensive equipment if you’re a designer who comes from a low-income background. Institutionally, White-run theaters create barriers by hiring the same old guys consistently, and not having contact information listed on their website so that emerging designers can submit their resume to the producers/production managers, which creates a sense of exclusivity. Old guys making room is a good step towards getting more Black designers into these seats since many of them overbook themselves for productions that their design assistants are responsible for, but it’s not the only solution.

What is your dream project?

As a sound designer who works for the stage and the screen, this is a two-tiered answer. My dream project in theater: anything on Broadway! I already have my co-designer picked out for when I get hired for my first Broadway production, and yes she is a Black woman. I’ve had my eyes set on designing for a Broadway-bound director like Kamilah Forbes and Stevie Walker-Webb, along with a list of 30 other big directors I admire.

My dream project for cinema: post-sound mixing for many Beyonce films! She’s producing great content and I think she would love me as her post-sound girl.

However, the icing on the cake would be if I’m not the only Black, femme, and LGBTQ person on those technical teams. In a few years when I can grow as a businessperson, I want to have the power to train and recruit diverse engineers, A2s, foley artists, dialogue editors, etc who look like me.

Do you think that the pandemic outbreak has overshadowed the BLM movement and related initiatives that are being executed in the entertainment industry?  If so, what do you think folx can do to stay focused?

I don’t think the pandemic outbreak has overshadowed the BLM movement, I think it’s the other way around. In regards to visibility, the problem is that non-Black counterparts participated in the temporary activism for about a week or two, then things went back to normal for them. Black people collectively are still mourning, marching, and organizing not only for George Floyd but also for Breonna Taylor, and new/rediscovered cases such as Elijah McClain, Oluwatoyin Salau, Sandra Bland, Tony McDade, and Riah Milton. Black women, trans people, and disabled people are often not cared for in these movements as much as Black men are. I want everyone if they have the capacity, to show up as much as they can, sign petitions, and donate to grassroots organizations instead of large nonprofits that aren’t proving where the funds are being allocated. BLM is an ongoing movement, even when the fire settles down.

What advice do you have for young technicians, designers, crew, and any other “unsung heroes?”

Advice on your job hunt: Send out your resume as much as possible! Cast your net wide. Last year, I sent my resume to about 80 theaters and directors I wanted to work for and only heard back from 6, but those responses turned into jobs.

Advice on creativity: practice, practice, practice. Practice your QLab, ProTools and other industry-related software, sign up for free webinars, join lots of industry organizations, watch YouTube tutorials, etc.

Advice on being comfortable in your own skin: My favorite quote is by a man named Michael Todd, “…planted and under-qualified” which means we may not always have enough experience or readiness for a job, but still take the opportunity when it comes and do your best.

Resources for hiring a diverse production crew

Wingspace is committed to the cause of equity in the field.  There are significant barriers to accessing a career in theatrical design and we see inequalities of race, socioeconomic status, gender identity, sexual orientation and disability across the field.

Parity Productions is a formidable producer of new work, that also ensures that they fill at least 50% of the creative roles on their productions with women and trans and gender nonconforming (TGNC) artists. In addition to producing their own work, they actively promote other theatre companies that follow their 50% hiring standard. Artistically, they develop and produce compelling new plays that give voice to individuals who rebel against their marginalized place in society.

Production on Deck Uplifting underrepresented communities in the arts. Their main goal is to curate a set of resources to help amplify the visibility of (primarily) People of Color in the arts.

POC in Audio Directory The directory features over 500 people of color who work in audio around the world. You’ll find editors, hosts, writers, producers, sound designers, engineers, project managers, musicians, reporters, and content strategists with varied experience from within the industry and in related fields.

The EQUAL Directory is a global database of professionals that seeks to amplify the careers and achievements of women working behind the scenes in music and audio. Any person around the world can add their name and claim their space. And, any person looking to hire a more inclusive creative team can find professionals in their area.

Twi McCallum is an NYC-based sound designer for the stage and screen. Her first jobs in the big city were a technical theater apprenticeship at New York Live Arts and an IATSE Local 1 stagehand gig at Manhattan School of Music.

Off-Broadway credits include Women’s Project Theater. Selected television/film credits include ABC, HBO, Warner Bros, CBS, and NBCUniversal. Selected regional credits include Kansas City Rep, Cape May Stage, and Long Wharf Theater (assistant design.) Twi has also designed Parity Production’s spring 2020 production of “Mirrors” at the New York Theater Workshop.

Selected Awards/memberships include USITT Early Career Mentee Grant, Post New York Alliance, SoundGirls, and Disney Creative Careers Fellow.

The SoundGirls Podcast – Twi McCallum: Hiring black designers and creatives

Twi McCallum Interviews Bobbi Banks for The SoundGirls Living History Project

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