Goes To Hell
been a fan and devoted user of SFX since my first experience
with it back in 2003 when I had a show down in Williamsburg, VA for Virginia
Premiere Theatre at The Kimball Theatre. I’ve designed about 30
shows with it since then and I don’t ever want to look back. On
one show this past October, I pushed its features much farther than I
had in the past.
The show was a Les Freres Corbusier production of Pastor Keenan Robert’s Hell House performed at St Ann’s Warehouse in Brooklyn, NY directed by Alex Timbers. I won’t go into the details of what the show was about because that could take an eternity. Quick description – a haunted house style production with short morality plays in each “room” of the house.
There were 12 playing areas with up to three tours running simultaneously. Each room had its own bed of sound or music as well as a list of spot fx that had to be triggered along with the action or dialog. From the first stages of planning I knew that SFX would be involved – I didn’t know how it would work but I knew that it would.
When the cast came in to tech that next morning we had most of the cues roughed in and the ASMs were blown away by what they were able to make happen with just the touch of a button 30 yards away from the control room. I got a big kick out of it too to be honest.
During the next 200 performances (20 nights at 10 shows per night) the SFX system worked beautifully. The few glitches that did occur (HINT 1: don’t use thermostat wire – it shorts out when repeatedly moved and sends errant GO signals to SFX. HINT 2: spend more than $2.15 a piece for switches) were quickly resolved by our awesome PSM Alaina Taylor.
Fasbender has been the sound designer for over 100 productions in New
York. He’s designed at the Brooklyn Academy of Music, St. Ann’s
Warehouse, The Ohio, HERE, The Culture Project, Cherry Lane Theatre, Second
Stage, Symphony Space, Fordham University, Juilliard, Baruch PAC, Tribeca
PAC, and regionally at Williamstown Theatre Festival, Barrington Stage,
New York Stage and Film, Virginia Playwrights Theatre, The Northeast Theatre,
The American Dance Festival, and many more over the past 13 years. His
early experiences in theatre as an actor, set and lighting designer, and
carpenter come with him to create a balanced approach to his designs as
a collaborative process. With his understanding and love of sound as music
and language, his designs work within the context of the piece to underscore,
support, punctuate and interact with the characters as would another actor
on stage. And his experience in audio for television and film gave him
the technical skills to create completely realistic soundscapes or bizarre
bombastic moments when called for.