With all of the technical elements required to mount a production, you can imagine that each show at Signature requires a diverse set of expertise from each staff member. Some focus on lights and electrics, like Sarah LaRue, others are masters of props, like Aly Geisler, but only one is king of sound. Matt Rowe laid out all things aural for the Hairline.
Tell us about your Signature story. How did you come to work here?
Before I worked at Signature Theatre, I had spent the previous decade working in studios and as a front of house audio engineer for touring events. When I decided to concentrate on theatrical sound design a friend of mine, Tony Angelini who was designing almost all of Signature’s productions, introduced me and the rest is history. My first show was Hedwig and the Angry Inch in 2002.
What does sound designing a musical entail?
A musical's sound designer is responsible for adding aural effects to enhance the dramatic content of a show, to add fx's(crash, thunder, bang), and to design the sound system. A sound designer also works with the mixer to ensure a consistent soundscape for the audience from night to night
What kind of sound effects did you have to create for Hairspray?
Hairspray didn't have a lot of sound fx's as it was mostly telephone rings and such. The real work was tracking the 25 body microphones on stage and the over 40 inputs from the orchestra
What has been a favorite moment from working on Signature’s Hairspray?
When we heard Nova (Payton) and the ensemble sing ‘I Know Where I've Been’ for the first time with the orchestra.
What’s next for you at Signature?
My next projects are Signature's productions of Really Really and Brother Russia .
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