Working on Godspell was a truly unique blessing at an incredibly challenging time. 

​

We all are aware of how different Summer of 2020 was for most theatre folk. I was no different, finding myself unemployed, and searching for purpose when there were no theater's producing work. All of my contracts had been cancelled. Then one day in early July, my friend, and fellow Sound Designer Nathan Leigh, messaged me. Berkshire Theatre Group had begun getting national press about how they were going to produce the first Equity approved show since the beginning of the pandemic. Nathan was unable to be at the theatre in person, and so he asked me to be his Associate and his ears in the room. Once the system was up and tuned to Nathan's specifications we began tech. During our Quiet Time, we tested various microphone and Video Conference options to get Nathan the clearest reference as we rehearsed. Fitting actors with microphones became an exercise in verbally communicating what I wanted, as I was unable to touch the actors or the microphones. Because of the limitations of the Video Conferencing software, Nathan relied on me to do the detail and fine tuning of the sound system while he was listening in for broad notes on balance and was on hand for any added sound effects or input that was needed to the rest of the design team. Working in this way was possible because of my relationship with Nathan and having worked together prior to the pandemic. I appreciate his trust in me and am truly blessed to have worked on such a unique and historic production.