I’ve been working with Lean & Hungry Theater since late 2010, when I joined the production team of Romeo & Juliet. As a result, I carry a lot of institutional knowledge. Curious who came up with our scissors/bell/ratchet technique for making typewriter sounds with the foley kit? I’ve got you covered: it was the supremely talented Danny Cackley, while working on Much Ado About Nothing. Wondering why all sound effects are made at the foley microphones instead of at the actors’ microphones? I know that one, too: it’s because we need to know which track has which sound during post-production, so it’s best to group them the same way throughout.
Sure, I do lots of scheduling, corralling and logistics, but I also help to transform a script into a radio broadcast full of rich sound.
I work with the actors individually to hone their microphone technique, making sure they find the ideal distance and angle from the microphone for each of their characters. We also work through common pitfalls such as popped plosives (when the air from a P, K or T causes an unpleasant popping sound on the microphone), sounds that may not translate well over radio (whistling, crying, screaming, etc.) and moving heads away from the microphone.
I’m looking forward to a new set of sound adventures – this time in the Wild West – in our summer show, The Comedy of Errors!