Madagascar

What are the opportunities and limits afforded by a subliminal use of sound design in a shifting relationhsip bretween stage narrative and direct address? Is an audience's imagination more sucessfully stimulated by clearly articulating or neglecting the sonic content of stories falling in and out of direct address stories? Can a traditional approach to a beautiful and moving score be enough to make an audience care about the outcomes for unsympathetic characters? I took this project on because I loved the written craft associated with the play's structure, whilst remaining completely unmoved by the plight of its protagonists. It became an ideal opportunity to test the extent to which sound design could carefully articularte physical structure, whilst score could offer an emotional heart. To this end, wanting to use voice, I collaborated with ex-Young talent time singer, Karen Knowles. Details: Commissioned work Significance: Victoria's premiere theatre company, outstanding cast (Noni Hazlehurst, Asher Keddi, Nicholas Bell), powerful singer (Karen Knowles). Sound designer invited by nationally accliamed director, Sam Strong (recently appointed to the head of the Grifin Theatre in NSW).