Mentor/Mentee Meet-up – June 2nd
An equal access opportunity for sound designers from all experience levels to meet. The form also has room for those who can’t attend but are still interested in participating.
Sign up here: https://tsdca.org/2018/02/tsdca-mentorship/
The following three panels will be part of our 2018 Annual Meeting. Place your vote for additional panels (or suggest new ones) here: https://tsdca.org/2018/02/panel-selection/
On the Docket:
Women+ in Sound
With panelists from the League of Professional Theatre Women, Sound Girls, and Women’s Audio Mission, we will look at the facts regarding the women in our field, outreach and retention of women in sound, and explore how to address harassment.
Our goal is to create a gathering to explore the following questions:
- How do we support the women of TSDCA?
- What type of support is needed?
- How do we organize and connect without alienating men?
- How do we create a safe space among ourselves when confidentiality is needed?
- How do we ensure that our male members are advocates for us in the field?
This panel is open to all members, and all genders are invited to participate in the conversation.
Interfacing with Regional Sound Directors/Sound Supervisors
Suggested by Paul Peterson, the director of sound at The Old Globe, this panel aims to shed light on the daily life of the sound supervisor and how that interacts with visiting designers. A panel of national sound supervisors will discuss their workload, preference in paperwork, and implementation of system design at the regional level. The goal of this session is to aid in the designer’s understanding of collaboration with the sound teams at LORT theatres.
Moderator: Paul Peterson, Sound Director, Old Globe.
Ben Emerson has been the Sound Supervisor at the Huntington Theatre for the last 20 years. During that time, Ben also developed a Sound Design program for Boston University’s School of Theatre, teaching and advising undergraduate and Graduate Sound Design students. Ben has designed over a dozen productions at the Huntington, as well as many shows in Boston’s small theatre community and New England regional theatres. In 2009, Ben was awarded an IRNE for Sound Design for Speakeasy Stage’s production of The Seafarer, and in 2010 he was awarded an IRNE for Sound Design for the Huntington’s production of Fences. In 2015 Ben was awarded an Eliot Norton Award for Sound Design for the Huntington’s production of The Second Girl.
Erin Paige, Sound Director, Milwaukee Repertory Theater. She recently designed An Evening with Groucho, McGuire, The Doyle & Debbie Show and I Left My Heartin the Stackner Cabaret. Other Milwaukee credits include Junie B Jones Is Not A Crook, Mole Hill Stories, Goldilocks, and Spookley the Square Pumpkin at First Stage, King Lear at The Alchemist, and Phaedra’s Loveat The World’s Stage. She has previously composed for Annex Theatre in Seattle and Looking Glass Theater NYC. She holds a B.F.A. in Sound Design from Southern Oregon University.
Corrine Livingston, Audio Supervisor, The Public.
Tim Thompson, Sound Director, Arena Stage.
James Ballen, Audio Supervisor, Berkeley Rep.
Amy Wedel, Audio Supervisor, Baltimore Center Stage.
Composing for the Musical – Three Generations: Mel Marvin, Dan Moses Schreier, and special guest TBA!!
This is a session that will focus on the composer’s role and the historical changes that have occurred when writing a musical. A multi-generational look at the business of composing for musicals, the expectation of composition, arranging for musician, and interfacing with the music direction.
Questions we wish to explore:
- What are the shifts that have happened as to scale, size, orchestra, and technology?
- What’s the future – more automation, less musicians?
- How does composing for musicals differ or agree with composing for plays?
- What are the trends regarding orchestra and performance?
Dan Moses Schreier: