As a designer, I have had many opportunities to explore areas of collaboration — with artists, directors, managers, and especially lighting designers — while the sound department, constrained by its usual basic requirements, is often asked to move “unsightly equipment” from the set and made to lurk quietly in those dark recesses behind or under the stage. As I started my initial design exercises for this tour, it became obvious to me that this show, more than all the others, was about ...
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