I started to become apparent that Giorgio, the person that was meant to be doing the sound operating for the show, wasn’t going to be doing it. The director Jo started to feel that he wasn’t doing what she asked and that he might not be committing himself to the project due to the fact that he hadn’t been turning up to any of the rehearsals. She forwarded the emails that she had been sending Giorgio to Martin and myself. I offered to take on the sound responsibilities as well as lighting if she wanted. She was reluctant as she felt it might be to much for me to handle but I assured her that since there are only a few sound cues and very little lighting cues, and because of my previous experience doing sound for them, that I could manage it.

Even though Giorgio had made some sound effects for the show,  he hadn’t been to rehearsals so Jo hadn’t heard them and didn’t want to spent time during the technical rehearsal changing them if she wasn’t happy with what Giorgio had done, so when I ask her at the final rehearsal if she wanted me to cover sound as well, she agreed that it was probably best at this point that I do both.

Email 4

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