POSTS FROM OUR PROCESS

When I signed on to music direct and compose for Elephant’s Graveyard, I knew I didn’t want to go into the process with preconceptions about how to score each scene. Music is one of the most powerful tools for setting an atmosphere, and coming in with a prepared score would have meant dictating that atmosphere before we had the chance to discover it as a team. This isn’t the role of the music director in any process, but especially not for a company like Seat of the Pants whose approach is so deeply rooted in ensemble work and collective discovery. That’s why, when I first sat down with the script, my plan was to read through and get a sense of how the music might fit in (where music was explicitly called for, where underscoring could be appropriate, which scenes should definitely not have music, etc.) without actually writing anything. Then I read the opening stage direction.

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I suppose what draws me to social work is the same as what draws me to the work we do at Seat of the Pants. We place high value on collaboration, competence, process, and intentionality in the work. These are values I carry with me in all facets of my personal, professional, and artistic ventures in my life. 

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First rehearsals are always filled with exciting energy—almost like first day of school energy—seeing old friends, meeting new folks, and the anticipation of the journey we are about to start together. But a stage manager has a bit of work that has to be completed before the first rehearsal.

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As anyone who follows Seat of the Pants knows, we are “process-driven”.  But what does that mean? 

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One of the things that enticed me to join the crew is how SotP prioritizes the continued artistic growth of our ensemble members. One of the ways we do this is by offering Growth Opportunities, where ensemble members may shadow other artists and learn about their process. I’ve wanted to dip my toe into directing for a while, and so I chose to shadow Craig Joseph as he directed The Children.

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I think at this point in society - particularly in my millennial age group - it's not very common to stay with a place for more than 5 years, let alone 10. So I found it surprising when Craig mentioned to me the other day that I had been working with Seat of the Pants for 11 years now. Because of this, I’ve had the rare gift of some insight into this company: where it’s come from, where it is, and where it looks to be headed.

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THE CHILDREN is a one act play, set in the real world, and structured as only one scene. How much sound design could there be? Despite the deceptive simplicity, plenty! The sound equipment still has to be set up, other designers need to be collaborated with, and decisions about content need to be made. By giving you insight into my work as the sound designer on THE CHILDREN, I hope to help you more fully engage with this play but also more deeply appreciate the sound of all future productions you attend.

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We recently had the opportunity to sit down for a chat with Laura Starnik, who plays Rose in our current production of THE CHILDREN, running through November 9th, and here’s what she had to say.

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In the end, the design is about containment. It’s a single room, but one that holds memory, regret, and consequence. The beams lean, the windows look out toward the sea, and the cottage becomes a vessel for human lives caught between the comfort of home and the vast uncertainty pressing at the edges.

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