Sound Design Portfolio

Living Dead in Denmark

Living Dead in Denmark at the Emmett Robinson Theatre at the College of Charleston. The Sound Design uses location-specific sounds and ‘hard hitting music’ to establish location, underscore, and drive the action of the play. As the script is a three-way car crash between Shakespeare, an RPG game, and a Zombie apocalypse, the sound choices will be quirky, stylized, and almost cartoon-like. The design keeps the action of the play flowing fluidly in a cinematic fashion while emphasizing the idea of “reawakening,” both spiritually and physically. Sound Design and Engineering by Caleb S. Garner, Lighting Design by Jason Lyons, Costume Design by Erin Cooper, Scenic Design by Mary Hope Ballou, Direction by Chad Henderson, Photos by David Mandel.

Ah, WIlderness

Ah, Wilderness in the Tatum Theatre at The University of Southern Mississippi. Much like O’Neill recalling the stories of his childhood, the sound design reflected the romantic voice of youth and revelry in memory. The reverence of the past will serve as hope for the future, as reflected by the sentiment of the sound design. Rather than directly referencing specific moments of love, memory, or youth via lyrics and poems, the purposefully-composed underscoring will convey the moods and emotions aroused by the subject - rather than a detailed tone‐picture. Original compositions, musical arrangements, and sound design by Caleb S. Garner, scenic design by Stephen Judd, Costumes by J. Theresa Bush, Lighting by Katy T. Baronich, Direction by Lou Rackoff, Photos by Kelly Dunn.

Peter and the Starcatcher

PETER AND THE STARCATCHER in the Tatum Theatre at The University of Southern Mississippi. The concept was to re-kindle the imagination of the audience by shifting from literal sounds, to live, figurative sounds, to abstract, suggestive sounds in a cinematic style. The sound design itself will had a character arc that changed as the play moved forward. As the action onstage progresses, the audience had to rely on their imaginations to suspend disbelief as the sound effects change from literal sounds played from the house sound system, to live-action Foley effects, to a combination of Foley and abstract, immersive sounds from the house sounds system.  Original compositions and sound design by Caleb S. Garner, scenic design by Amanda Klipsch, Costumes by Toni Gary, Lighting by Craig Dettman, Direction by Jodye Underwood, Photos by Kelly Dunn.

The Illusion

THE ILLUSION at The University of Southern Mississippi's Hartwig Theatre. The concept was to support the exploration and pursuit of love via sound, exploring how each character perceive, defines, and pursues love. Garner writes an original score that is not geographically specific, but rather incorporates specific classical elements; more of a pastiche of regional qualities, rather than a direct reference to a specific geographical area. To expose each character’s perception of love, Garner's score uses a variation of a common thematic sound, in this case a waltz. Original compositions and sound design by Caleb S. Garner, scenic design by Lindsey Kelley, Costumes by Samantha Burkett, Lighting by Leann Marie Rogers, Direction by Jodye Underwood, Photos by Kelly Dunn.

WOYZECK

WOYZECK at Catawba College's Florence Busby Corriher Theatre, Produced by the Catawba College Blue Masque. The Concept was to use sound to push the audience into the conscious world as perceived by Franz Woyzeck via a psychoacoustic approach. All sound effects were recorded in the traditional Foley style. an original score was influenced by Abstract Expressionism and Minimilism in music; particularly bu Phillip Glass and John Cage.

The 39 Steps

THE 39 STEPS at Old Courthouse Theatre in Lexington, NC. The concept was to use the sound as its own comedic character. Throughout the show, the sound would represent various characters, animals, or forces of nature that, while invisible, interact with the audience. All sounds recorded via Foley technique. 

Play

SAMUEL BECKETT'S PLAY at Catawba College. The concept was to use sound to create a sense of uncertainty, hopelessness, and uneasiness. Any of the sounds used will be brash, ethereal, or just unhumanlike, set over a polyrhythmic or atonal score.  Everything is extremely bleak and depressing, like Beckett’s projections of life in PLAY. Effects were recorded via Foley Technique and via synthesizer.