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Empowering the Next Generation of Women in Audio

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Launching Content 

In 2019, most people can class themselves as a content creator. Whether you post pictures on Instagram, are in a band or write poetry in your spare time, you’re creating content. The more difficult part is getting people to notice (if that’s what you want to do of course).

As I have come towards the end of the BBC New Creatives scheme, myself and the team are planning how to promote the audio piece and which platforms it will sit best on. The piece is a five-minute clip of my Dad reading out his poems, snippets of family conversations, and me reading out emails and letters my Dad has written to me over the years.

I will most likely put the “podcast”/audio piece on SoundCloud, where I first started posting commentary with friends on my Dad’s poems throughout university:

https://soundcloud.com/yadroteoem

I then hope to post a relevant image of my parents on my Instagram page, along with a clip of the audio and subtitles for the dialogue. I haven’t figured out how to do this yet, but I will do! I will also post on my Facebook page that was dedicated to my tri-lingual student radio show and now is used for any media updates and opportunities through my work.

I will place a link on my website to my SoundCloud. I, unfortunately, will not be able to post on Mixcloud as the audio piece is too short. I will make sure to tag everyone that has been involved, from BBC New Creatives, Naked Productions, Tyneside Cinema, Arts Council England, and BBC Arts. I will post on LinkedIn too at some point and add to my profile.

This blog has also been such a great way to document the process! I hope to be able to continue talking about my side projects and creative endeavours. The final workshop in Newcastle for BBC New Creatives was a great way to see and listen to all the work created by different participants. It was so inspiring to see how experimental and inventive everyone had been.

I can’t wait to see the journey of all the different projects!

Check out the link here to all the projects:

https://newcreatives.co.uk/creatives

One issue has been the name of my podcast; we’re still working on that one and will have it confirmed soon hopefully!

WHERE ELSE TO FIND ME:

Tri-lingual radio show (Sobremesa): https://www.mixcloud.com/Alexandra_McLeod/

Sobremesa Facebook page: https://www.facebook.com/AlexandraSobremesa/

YouTube and Geography blog: https://alexandrasobremesa.wordpress.com/

LinkedIn: https://www.linkedin.com/in/alexandra-mcleod-79b7a8107?trk=nav_responsive_tab_profile

Sound Design in Another Medium

Sound Design is creating a world or character purely out of auditory vibrations.  We morph mood and meaning through music and sound effects. As showcased through pieces like Peter and the Wolf by Nikolai Rimsky-Korsakov, the aural medium can tell the story on its own.  More often than not, however, sound design is not a monolith and must integrate with visual mediums.  This opens the door for visual style elements to influence sound design.

When I took Sound Design as a course in college our main textbook was Understanding Comics: The Invisible Art by Scott McCloud.  McCloud boils comics down to its essence, choosing to focus on the assembly of narrative and representation rather than technique.  The philosophy behind choosing what to include and not is similar between the visual and the aural. Elements of design (rhythm, focus, contrast, form, movement) are also shared.  Using McCloud as a guide, take a look in the graphic novel section of the library as research for your next project. But why stop at visual, where else can we find inspiration?

The human body was gifted with several senses, and all of them can be used to evoke emotional responses.  Taste is an experience that occurs over time but is remembered as a static moment, much like a song. That particular meal has a temperature, different flavors competing and complimenting, and overall texture.  A song has dynamics, different instruments with melodies and harmonies, and an overall mood. Maybe the character in that particular film has a favorite meal that defines them. How should the accompanying theme add to the character development?  Think of Pippin singing to Denethor in Return of the King from the Lord of the Rings trilogy, a greasy meal, tomatoes popping and gristle squishing contrasted with Pippen’s haunting ode to his comrades in arms.

Another sense, smell, also shares similarities to sound.  While perfume is just as manufactured as a pop tune, it has the opportunity to provide insight into character design.  Imagine a femme fatale adorned with a power suit, her chosen scent is bound to be as bold as she is. Like sound, it also transforms through time.  When she first enters the scene, her interactions with those around her, and what happens in the wake of her absence correspond to the “top,” “middle,” and “base” portions of the bouquet.  Film cannot capture scent, yet, but the sound design can pick up on the “notes” of her cologne.

I recently have had the opportunity to try my hand at mixing mediums.  In August, I gave birth to a new little SoundGirl, and I wanted to share with her one of my favorite stories:  Roverandom by J.R.R. Tolkein.  I want her to follow along with me but also was have the story available if she was babysat by grandparents.  In my copy, the publishers thoughtfully included prints of Tolkein’s illustrations, and I used those as a guide for a fabric book and a radio play.  The mood and style permeate through the scene designs done in felt, while the narrative and characterizations are explored through sound effects, voice, and music.  Together the confluence is grander than the sum of its parts and makes me a better sound designer.

 

Living In and Out of A Big Fat Suitcase

Tips for packing smarter

I love travelling, I love going on tour, but I hate packing. I think it boils down to my inability to make decisions, which is what packing is after all; deciding what you’ll need for maybe months at a time. You might leave home during a heatwave and not come back until the middle of winter, taking in all sorts of weather in between. How can anyone know what they’ll need through all that?

I tried to pack light for years, partly so I wouldn’t put my back out dragging everything around, but partly because I didn’t want to be seen as the clothes-addicted, materialistic woman. As I’ve grown older (and stopped caring what other people think so much) and spend more and more time working away, I’ve come to realise that my suitcase is the closest thing I have to a home on the road. I’m not a follower of fashion or a hoarder by any means, but if having more than one day-off outfit and a bath bomb or two makes a big difference to my quality of life, damn it, I’m going to bring them. I now look for smart swaps that I can make that will streamline my packing while leaving space for a few creature comforts.

I read travel and backpacker sites to get inspiration for lightweight, collapsible, or multipurpose versions of things I need. Some of them can be very expensive, but if you can afford the initial outlay, buying great quality items that will last for years will save you hassle and money in the long run, and have the added bonus of being better for the environment than buying multiple cheaper versions. A lot of the high-end brands also have lifetime guarantees, which can be invaluable. I have a wishlist and keep an eye out for any discounts or sales that will make them affordable. Here are the main changes I’ve made, whether packing for one night or three months:

Water Bottle

An increasing number of festivals and venues in the UK have stopped supplying disposable water bottles, and rightly so. Besides, bringing your own means, you don’t need to waste time searching for the water stash when you run out. Just find a tap. I got a silicone one that rolls up when it’s empty so I’m not losing space in my bag to air.

Coffee Cup

Again, reusable cups are much better for the environment, but they take up a lot of space. I bought a collapsible cup, with a wide foot so I’m less likely to knock it over.

Laundry Egg

I’ve replaced washing detergent and fabric softener with a reusable, eco-friendly laundry egg. They last for months and months before needing a top up, so I know it’s sorted for my whole time away.

Ereader

I know some people can’t be parted from paper, and I love reading real books too, but having the ability to choose from thousands of stories while taking up less space than a paperback is worth it for me. You can also load them with user manuals and catch up in your bunk if you’re struggling to get to sleep.

Coat

Unless you’re touring through the arctic circle, you shouldn’t need a big bulky coat. The key to packing smart while being prepared for any weather is lots of thin, breathable layers. I invested in a super thin jacket from Arc’teryx, which has lots of smart features like moisture-wicking material and a hood that will fit over my hard hat, while rolling up to the size of my headphones. I can use it all year round, and add thermals in the winter to keep warm.

Base Layers

You can avoid having to bring thick warm clothes ever again by getting some good thermal base layers. Merino wool ones are super toasty while staying breathable. Apparently, they also keep you cool in summer and can be worn for a week or so without smelling, but I have too much respect for my colleagues to put that to the test. More and more sports and outdoors brands are making ‘smart’ clothing, which can be super thin, moisture-wicking, breathable and quick-drying and many are made from synthetic material or bamboo, so don’t involve animal products.

Zip-off Trousers

Ok, you’re not going to win any best-dressed awards in zip-offs, but they are really useful. Not only will you save space compared to packing separate shorts and trousers, you have options for when the temperature suddenly changes without having to run back to the bus or hotel. I got a couple of pairs from an outdoors shop that are lightweight and quick-drying, so if I get caught in a downpour, I’m not soggy for the rest of the day.

Safety Shoes

If your role requires safety shoes, it’s non-negotiable. However, there are lots of lighter, trainer-style shoes out there so you don’t have to lug massive steel-toed boots around. I have some great springy, composite-toed, high-top style ones (because I don’t trust people not to push flight cases into my ankles) from Jallatte, which are not only lighter to carry in my bag, they’re a pleasure to wear.

Toiletries

I’m trying to replace as much as possible in my washbag with solid alternatives. They’re more compact, use less plastic, last longer, don’t leak and you don’t need to worry about taking them through airport security. I have solid shampoo and conditioner and use soap instead of shower gel (I was really interested in a major chain’s solid shower gel until I realised that it was just an expensive way of saying ‘soap’). I use stick deodorant, but it’s best not to bring aerosols on tour anyway. It’s rude and inconsiderate to use sprays inside the bus. For liquids, I buy the smallest bottle or decant it into travel containers. Again, this saves space and means I can bring most stuff in my hand luggage if I’m flying. You can always buy more as you go along.

Menstrual cups not only take up way less space than pads and tampons, but they’re also better for the environment, and you don’t need to worry about running out.

I use packing cubes to keep all this stuff organised. It’s quick, it helps you compress your clothes down so you have more space, and it’s an extra layer of privacy while you’re rummaging through your suitcase at the side of the road in front of your colleagues and passers-by. I also bring a smaller canvas bag so I can take everything I need until the next day off up to my bunk and leave the suitcase in the bus bay. If you delve into travel blogs, you can get a wealth of information for packing lighter and smarter, but don’t get too caught up in minimising your luggage. We aren’t on holiday, we do this full time. While it’s a good idea not to have too much stuff weighing you down, we deserve to have a few luxuries or reminders of home to make us feel human.

Missed this Week’s Top Stories? Read Our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

October Feature Profile

https://soundgirls.org/bryony-october-tolerance-patience-the-ability-to-remain-calm/

The Blogs

So you Think you Want a Career in Live Sound.

The Secret to Being a Woman on the Road

My Take on Line-By-Line Mixing for Theatre

SoundGirls News

SoundGirls at AES

NAMM 2020 Badges for SoundGirls Members

Accepting Applications for SoundGirls Bloggers

We just got some new merch in. Long Sleeves, Onesies, Toddlers, Gig Bags, and Canvas Totes. Check it out Here

Internet Round-Up

.

WCA #251 with Piper Payne – Infrasonic Sound, survivalist audio, asking for help, losing a parent, and new opportunities.

Leveling Up Your Mastering Workflow with Tonal Balance Control

by Jett Galindo, iZotope Contributor October 17, 2019

SoundGirls Events

Colorado – BLUE MAN GROUP – BACKSTAGE TOUR & DINNER

Bay Area Chapter Monthly Meeting

Colorado SoundGirls Chapter Social

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles

SoundGirls Opportunities

SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls

SoundGirls Resources

Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers

Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Member Benefits

My Take on Line-By-Line Mixing for Theatre

Theatre sound

Since I had started as a live sound engineer for theatre, I didn’t really pay attention to other mixing styles. Line-by-line mixing made sense to me and was my natural technique. It wasn’t until I started working with musical artists and bands that I realized I needed to change my approach. I was not a live sound music mixer, I am a theatrical mixer, and there was a learning curve for me. Line-by-line at the most minimal means you are opening/closing mics for each person coming on and going offstage. Mute groups, DCA/VCA, and automated scenes REALLY help when you have a ton of radio mics. Mixing for an orchestra plus 15-25+ wireless mics were the norm for me while in college (& working professionally later).

We were taught to read a script a minimum of three times. Script analysis was integral for sound design, as it forces academic research. The first time you read a script is the most important as you are forming first impressions and understanding of the story. The second read-through was sometimes done with other designers, actors, director, etc. but I felt they often left out the tech crew. The second was to solidify the understanding of the themes, subjects, and tonality. The third and subsequent read-throughs of the script are for writing SFX cues, entrances, and exits (if not in the script OR noting they will go off and immediately return), orchestral solos, and grouping of singers.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In rehearsals and the tech week process, there was always a lot of “hurry up and wait” while we all made adjustments. This was a valuable time for note-taking; if my script was thorough and accurate, I would be able to focus more on the mix rather than who the hell is onstage right now. An Audio Engineer for the theatre is a lot of things: FOH, foldback, A2, RF Tech, systems engineer, sound effects operator, comms, and so many other little things. Keeping organized was the most important because we have a lot of shit to handle.

Once you know who is doing what on stage, which solos or special parts the orchestra has (which is why attending the sitzprobe is integral for success, ( In opera and musical theatre, a sitzprobe (from the German for seated rehearsal) is a rehearsal where the singers sing with the orchestra, focusing attention on integrating the two groups, it is often the first rehearsal where the orchestra and singers rehearse together.) You can build your show file and program the console. The Stage Manager will be able to call your SFX cues (and sometimes even run them) so I make notes and place trust in my SM. I learned how to mix on an Allen & Heath ML4000 (?? TBH it was over 13 years ago), so my brain is focused on having as much as possible in front of me. Layers are where I hide things that don’t need to be actively mixed, as I do not like switching between layers quickly.

My Console Setup

Once everything is labeled and organized, I start with assigning VCAs/DCAs (Showing my experience/age). Wind, strings, rhythm, etc. will each get a DCA if it’s a larger orchestra. Orchestra overall gets a DCA. Ensemble (separated men/women), and quartet/trios should also get their own DCA. Some of these may be assigned to a group instead of processing, which will depend on the situation. Mute groups are your best friend, it takes some time to program them on older consoles, but it is worth the effort. Depending on your digital console, recording scenes or screenshots while in rehearsals would be the best option. You can always make small edits later if your timing isn’t quite perfect. From there, it’s all about the notes from rehearsal. Line-by-line was the most logical method for theatre & I still think this way during productions.

 

The Secret to Being a Woman on the Road

 

The secret is there is no secret

If you want to tour or you want a career in this industry, you can and will make it happen. Dive in, work hard, prove you deserve every opportunity, and get the job you want.   Then once you get there remember:

You don’t owe anyone a thing.  You’ve gotten where you are with hard work, determination, and dedication. As women in these fields, we are often highly skilled and overly qualified for our jobs because we’ve had to prove it over and over again due to the bias in the industry.  You do not owe anyone around you justification for your accomplishments; it was your hard work that got you where you are today. Do not let someone’s negative energy, jealousy, or anger get you down. You’ve achieved a lot! Carry yourself with confidence.

Set your ego aside

When other women see you in your role, they’ll likely envy you and want to reach the goals you’ve already achieved. Help them, talk with them, share your story, and, most of all, support them. At some point in your career, you likely met someone you looked up to who helped you reach your dreams. Be that person for someone else.

Invest

Invest in yourself and in others around you. Build the environment you wanted when you started so others can get even more of a jump start. As women continue to break the barrier, let’s leave an easier path for those to follow than we had. Invest in the next generation just as those before you did for you.

Be kind

Sometimes we can get jaded as we continue to fight our fight each day. Resulting in taking our frustrations out on the wrong people.  Try to close the door of frustration and anger nightly to be able to start each day with a new perspective. Perspective is tremendous, try to see it from the other side before you act.  Grace and forgiveness will get you so much farther than anger and hate. Some people may take advantage of your kindness along the way, but it will get you farther in the long run.

 

So you Think you Want a Career in Live Sound.

Are you sure?  

I’m not saying it’s a bad idea; I think it’s fantastic as long as you are doing it for the right reasons.

I have been working in live sound for 30 years, and even though it can be grueling at times, I’ve never felt like I was ‘working.’  My passion for music is what drives me.  The camaraderie of my fellow touring crew and the opportunity to travel to and experience different places and cultures are all perks of the job.  When I first discovered my desire to get into this crazy business, it was so strong that nothing was going to convince me to do anything else.

That passion and desire have helped me through the struggle of the early years, years of building my skills and experience, hustling to get enough work, the jobs that weren’t my dream job but essential to learning what I needed to know for my next job.

It’s good to have an end goal in mind for where you want to be.  Equally important is to clarify your motivations so you can be sure that your expectations are aligned with the realities of the job.

Here are some questions to ask yourself.

What exactly do you want to do?

What is your ultimate goal? Why?

What do you envision that being like?

What is the driving force behind it?

What do you feel you are going to get out of it?

How badly do you want it? In other words, how hard are you willing to work to achieve it?

What do you imagine this path being like?  What is the first step?

Are you prepared to move around a lot?

How are you going to set yourself apart from all the other people who want to do the same thing?

How do you feel about getting filthy, sweaty, doing a lot of physical work and some heavy lifting?

How do you feel about working nights and weekends, holidays, and stupid hours?

If your goal is to go on tour with a band, can you live out of a suitcase for weeks/months at a time, and without all the comforts of home?

Are you a self-starter, responsible and dependable or do you just want to mindlessly punch a clock and surf Facebook all day?

How good are you at building connections and networking?

These are all things to consider when before choosing live sound as a career.

If your motivation is to make a lot of money, hang out and party with your favorite band, or just because you like music, you probably won’t make it.  I’m not trying to burst your bubble but realistically – yes you can make a lot of money in live sound, corporate work pays great and touring sound engineers can make good money, but it can take a long time to get to that point.

As far as hanging out and partying with the band, let’s think about that.  The band is your boss, and while yes, at times you can and will develop great friendships with the people you work for, there is a fine line between employee and friend.  You need to know your place, and as crew, it’s not backstage partying with the band when loadout is going on.  You are there to do a job, this a business like any other and as much as we don’t want to believe it, it’s about making money-  money for the artist, their management, the promoter… All of which depends on each person doing their job.

You love music, that’s great.  That’s a good start but is it your passion?  Is it something you are willing to bust your butt for, to work 16 hour days getting dirty and sweaty?  To slug it out in smelly bars and clubs if you are trying to cut it as a mixer?  Or working as a grunt on the audio crew for tour after tour until you are experienced enough to be the system tech?

Having a sincere passion and strong desire is a great start.  Getting your expectations in check is also helpful, which is where these questions come in.

In fact, you could ask yourself most of these questions about anything you are going after in life.

-What is it I want?

-Why do I want it?

-How do I expect to feel when I have it?

-Are my expectations in line with reality?- Talk to people who are where you want to be for a reality check.

-How hard am I willing to work for it?

Answering honestly will help you clarify if you are on the right path for you.

I wish you success in whatever path that is!

For more from Michelle, check out https://www.mixingmusiclive.com

Missed this Week’s Top Stories? Read Our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

October Feature Profile

https://soundgirls.org/bryony-october-tolerance-patience-the-ability-to-remain-calm/

The Blogs

An Open Letter to Theatre Reviewers

 How to be the New Crew Person

Glossary of Sound Effects (Part 1)

SoundGirls News

AES Exhibits-Plus Badges for SoundGirls Members

NAMM 2020 Badges for SoundGirls Members

Accepting Applications for SoundGirls Bloggers

We just got some new merch in. Long Sleeves, Onesies, Toddlers, Gig Bags, and Canvas Totes. Check it out Here

Internet Round-Up

.

Natalie Hernandez – synthesizer and electronics technician

Natalie discusses her background in electronics design and repair, including her work at Death By Audio. She speaks candidly about combatting imposter syndrome and the importance of saying “I don’t know.”

List of Woman and Non-binary-Run Music Organizations Is the Future of the Industry

SoundGirls Events

Colorado SoundGirls Chapter Social

Colorado – BLUE MAN GROUP – BACKSTAGE TOUR & DINNER

Bay Area Chapter Monthly Meeting

SoundGirls Dante Certification Level 1, 2, 3

SoundGirls Alberta Chapter – Field Trip

Vancouver SoundGirls Console of the Month

SoundGirls Electricity and Stage Patch

Los Angeles – Live Sound Workshop

SoundGirls FOH Tuning Workshop – Los Angeles

SoundGirls Opportunities

SoundGirls and SoundGym

Sound Particles Licenses Available

Meyer Sound Supports SoundGirls

SoundGirls Resources

Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers

Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Member Benefits

An Open Letter to Theatre Reviewers

The play includes more than the actors on the stage

Dear theatre critics and reviewers worldwide,

First off, I’d like to say thank you for the love and enthusiasm you have for live theatre.  While the general population launches forward to keep up with technological trends such as virtual reality, wearable gaming, augmented reality, high-def displays, and holographic video, some of us, yourselves included, are desperately clinging to the lost art of live performance.  While technological leaders spend billions of dollars trying to invent the next piece of equipment that will make that game or movie look so real you can touch it, theatres everywhere are struggling to get people into their auditoriums to witness what can only be described as the pinnacle of reality, and no, the irony is not lost on me.  We theatre-makers appreciate you because you still believe in the magic of theatre. You still come to the shows, you put your phones away, you pay attention, and most importantly, you report. We rely on these reports to get the word out about this beautiful piece of REAL magic that’s happening in the readers’ very same city. There’s just one little thing I want to discuss, though: There’s more to the play than just the actors on stage.

I’m a sound designer working mostly in regional theatre, and I would say 85% of the reviews I read don’t even mention designers or technical crew.  Now, I know that there is a lot that happens in this industry that people on the outside just don’t know about, so I get that, but if you are reading your program before the show starts, you’ve probably noticed that there’s an entire page dedicated to production.  There’s probably an artistic director, production manager, scenic designer, costume designer, lighting designer, and sound designer. There’s sometimes a projection designer, wig designer, music director, pit musicians, composer, choreographer, fight director, and honestly, probably some other designers/directors that I didn’t even know existed.  You will also most likely find a stage manager and sound engineer, a light board operator, spotlight operators, deck crew, wardrobe crew, audio crew, and all of the artisans that built, sewed, and painted all of the physical aspects of the show. At the level of theatre, I work on; I’d say there’s generally an additional 40-50 people contributing to the show that are never seen on stage.  Isn’t that also worth reporting on? The actors do an amazing job of taking audiences out of their worlds for a few hours, but would it even be possible to make that journey in a dark, empty, silent room?

This is not the first letter to theatre reviewers that I have written.  Several years ago, I kept reading review after review of shows that my colleagues and I had designed the sound for and never read even a mention of those designs.  All of those shows were reviewed by the same person, and I emailed him asking why he never reported on what the show sounded like. Given that most of those shows were musicals, I’d say the aural response was a pretty significant one.  His reply to me was that he didn’t know what sound design was, or that it was even a thing. I get that, I really do, but as a newspaper writer, aren’t you something of a journalist? Haven’t you been taught to investigate, research, and find out the whole story?  I gave him some enlightening information on the practice of sound design and waited on pins and needles for an improvement in his next review. I’m sad to report that I never received that satisfaction.

It’s not just sound designers that get this treatment, even though, as a sound designer, it is the area where I am the most sensitive.  Many of the reviews I have read of theatres in my area over the past year have had little to no mention of design or crew. Instead, the reviews have consisted of a paragraph or two sending glowing praise to leading actors in the show, the occasional shout-out to supporting ensemble members, and then the rest of the review reads like a book report telling us what the story is about.  Sometimes there is the rare and seemingly obligatory list of designer names at the bottom of the review like their editor told them they had to say something about design, so they mentioned the designers’ existence to appease the boss. I’m not a reviewer, so maybe I’m wrong, but I just don’t think that dedicating 75% of the column to writing the show’s Cliff’s Notes is a review of what actually happened in that room.

As I mentioned before, I know that what we do is mysterious, and sometimes difficult to understand, so here are some facts about regional theatre and the kinds of questions you should be trying to answer:

  1. Making a play takes a lot of planning!  The design team of a regional show will probably start that planning process 4-6 months ahead of the show’s opening, and meet every 1-2 weeks to discuss the show’s progress.
  2. Making a play also takes money!  A large-scale musical on the regional theatre level could cost $30k-$60k to get the show looking and sounding spectacular.
  3. Making a play takes research!  The next time you’re reviewing a show, take a look at the details.  Do those civil war era costumes match what you remember from history books?  Where did they come from? Did this theatre make them in-house? What about that authentic-looking Mid-Century Modern furniture that is so popular now.  That chair alone would go for $5000, so how did this theatre get it?
  4. Making a play takes technical knowledge!  See all of those lights moving, changing colors, and making interesting patterns on the stage?  Do you hear all of those sound effects swirling around the space? Can you hear the amplified voices blending with the music? This is not a My-First-System kind of thing.  Someone went to a lot of trouble to make that cool stuff work.
  5. Making a play takes coordination!  There are so many moving parts to a play, and once it starts, it has to keep going.  We can’t just skip over the hard parts, and if something goes wrong, someone has to make a quick decision on what to do to keep the train moving.  Who’s doing that, and how? How do the people on the ground know what do to? How much practice does all of this take?

So, reviewers of theatre, again, thank you for your dedication and love.  We really do appreciate it. But please, the next time you go to the theatre, try to answer the not so easy questions, because for this dying art, “the actors were great, and this story is a lot of fun,” is just not enough anymore.  We need you to help expose this world to those who don’t know what they’re missing, and this world has some pretty stiff competition in this modern and highly technical society.

X