After a recent rehearsal, she interviewed actors Meredith Binder and Greg LoProto as well as director Roy Arauz. Here’s a brief excerpt:
Arauz has extensive experience staging huge, classic productions, and described his work as director on ‘Frankie & Johnny’ as “very intense. It’s as intense as directing a production of ‘Annie’ with thirty people.” Along with the actors, he had to find key moments in the play, and ways to underscore them among all the words and movement (and food.) Ultimately, he admitted, directing this smaller work took as much time as a large production.
The sound design requirements for a show like Frankie and Johnny in the Clair de Lune are minimal. Because Frankie and Johnny are listening to the radio, the script calls for specific musical selections to be played throughout the show. I thought it would be fun to extend the “radio” concept into intermission and keep the music flowing, with additional music and intermittent radio announcements that are not called for in the script itself.
Whenever I work on sound for a show, people ask me where they can get the music that I’ve used in the show and during intermission. I would like to think that this is about my meticulous taste and musical skills, but in reality I think I’m just benefiting from a captive audience that likes the arts. So, in the spirit of sharing, here are some great examples of music that is called for in the script. These links go to Amazon.com, a great resource for classical music MP3s.
–x– J.S. Epperson is the sound designer for Frankie and Johnny in the Clair de Lune. He has previously created sound for Arts West, Redwood Theatre and Theatre 9/12. You can read a clever paragraph or two about Epperson on the Cast and Crew page or you can visit his website.