(Radio DJ 'zoo crew' noises)
It's a radio play in the sense that nobody 's in the same space. It's about a
girl named Emily who moved from New York to Hawaii and it's told through a series
of phone calls and live radio and intercom and nobody's ever in the same
space and so I really relied on Kip as the director and also with a sound
designer to how to imagine the space because this is the first time in a...
I wrote a play where I couldn't imagine the physical world of it because for me
was all just these phone calls.
How do you physicalize or theatricalize
or dramatize this really, really, lonely state of being where you're always on
Facebook, you're always on your cell phone, you're always communicating with
people through technology or through... everything is mediated. They started out
not in the arrangement that we ended up in but just in a roundtable so the
actors were looking at each other but I encouraged them to not make eye contact
with each other. The first or the second rehearsal, the read-through, I asked them
like, is it really irritating to not look at each other and they're like, "No, it's
such a relief!" The play is written in a disconnected communication that when
they looked at each other they freaked each other out.
(Sound effects)
We started with basically just a bed of noise. The 'pump it' was always there...
It was always there and it's a morning segment so we felt that, you know, oh maybe it's
like there's a jackhammer, Susan thought would be like great, and like yeah, that's
great but then we put it in and it just became a part of the noise.
I don't know how we ended up with Woody Woodpecker...
Someone, I think Amy our stage manager, in
the room was like, "Woody the Woodpecker!" Eventually we added Woody the Woodpecker
and went like, "Oh my gosh that is just so strange and funny."
It's kind of jackhammering, actually.
Definitely the most evocative sound design environment is the radio. we really had to look at the characters
that she scoped out with each DJ, DJ Loki, DJ Solange, Grandpa Z, and what
would they choose to have for their intro.
There was a point where I was listening to these live radio things and I was like, "No ours can't be less
obnoxious than the reality, we can't have something smaller than the thing we're
parodying, so then we listen to it, and it was so terrible, these morning shows, and so we
amped it even further up with these crazy sounds cues.
The evolution of this actually partially came from the actor because we were looking at what
characteristics his vocal quality had, and someone at some point said, "Well
look up Grandpa Simpson. There was an episode of him talking about sex and so
that ended up being an element of the horny grandpa sound cue.
Do you have what we started out with?
("Suck my dead pig!")
Right, so we were very pleased with "Suck my dead pig," at home and we brought
it in and played it and everyone was just like horrified. I mean, the
present day is this weird world where we're in more communication with more
people than we ever have been and we're less connected with people than we ever
have been. You can't experience the play without mediating it. There's a whole
other set of puzzles to start to explore about what the physical life of the play
is, but we were trying to figure out the aural landscape and how that operated and
how it operates on the main character who's just more and more isolated as the
play goes on.
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