Ms. DuBoff works on and off-Broadway, for National Public Radio, on various popular television shows, and in independent films. She was the winner of the 2011 Obie award for Sustained Excellence of Sound Design, the Lilly award for Seriously Stunning Sound Design, the Ruth Morley Design award, as well as various Drama Desk and Henry Hewes nominations. In the 2014-2015 Broadway season Jill du Boff’s work was heard in Hand to God, Disgraced, and The Heidi Chronicles. She balances an active theater career with being the Audio Producer at The New Yorker.
Below she takes a moment from her busy schedule to answer our questions!
What are you working on at the moment?
The Legend of Georgia McBride at MCC.
What is the most exciting thing happening this season that you are not working on?
Opus at BAM (Brooklyn Academy of Music).
Where were you born? Where do you live now?
I was born just outside of Manhattan, and live in Hell’s Kitchen now, but will be moving to Prospect Heights in October.
Describe one of your most successful collaborations in the theater.
I designed a show called Spatter Pattern at Playwrights Horizons, and working with composer Michael Friedman on that show was a very unique and successful symbiotic collaboration.
Who or what makes up your support structure?
My husband, my family and my friends. Without them I would be at sea most of the time.
What is your favorite piece of music at the moment?
I’ve just gotten into Miranda Lambert and the Pistol Annies. Really anything by them. For now.
Name a pet production peeve.
Where to start? I think that when people list all of the things on their personal to do list, or things that don’t effect the group, during a production meeting after a 10 out of 12, it’s inconsiderate.
Describe the most ridiculous production situation you’ve ever experienced.
I was working on a show, and the director wanted a certain cue in the preshow mix. She named the correct band, but gave me the wrong song title. When it came on she screamed at me in the back of the house, “No, I wanted ‘Middle of The Road’! The Times will be here tonight and this has ruined everything!” The show didn’t start for another 20 minutes because we were waiting for the Times critic to get there. He missed most of the preshow mix anyway.
What is your favorite meal during or before tech?
It depends on where I am, but anything that I can eat during dinner break, and take back and continue to munch on during the evening session is always a bonus.
What instruments do you play?
How old were you when you knew you wanted to be involved in theatrical sound?
Was there a show or experience which drew you to sound design or composition?
I was the sound op on The Grey Zone at MCC, designed by David Van Tieghem, and when I saw what his music and underscoring did to the audience every night, I knew that I wanted to be a part of a profession that could create something so powerful.
Does your family understand what you do? How would they describe what you do?
They do now. When I first started out, they would tell people that I was a lighting or set designer. Now they have something to say about the sound in every production they see!
Did you have a sound design or composition mentor? If so, how did they help or guide you?
David Van Tieghem is my mentor. He taught me how to design and gave me the tips and tools I needed when I was starting my career. I still go to him for advice.
Where do you find inspiration?
Mostly in music, but also in art and movies.
What programs are we likely to find open on your computer?
Was there a piece or type of gear or program that revolutionized how you work?
What do you hope TSDCA can accomplish?
I hope that it will be able to enlighten people as to what we do as well as make the discipline more understandable and accessible.