Sound Design Portfolio Highlights
As It Is In Heaven
Sound Designer
As Sound Designer for the University of Memphis's production of As It Is In Heaven, I created, sourced, and edited music and sound effects, creating layered environmental soundscapes as well as celestial soundscapes in an abstract interpretation of angelic sound. Implementation and EQ-ing in the space, as well as tracking paperwork, was also completed by me.


Director: Holly Derr
Scenic Designer: Maya Holmes
Costume Designer: Kenann Quander
Lighting Designer: Anthony Pellecchia
Photography: Daniel Nguyen
Tragedy Sound
Sound Designer
As Sound Designer for Playhouse on the Square's production of Tragedy Sound, I created, sourced, and edited music and sound effects, creating layered environmental soundscapes as well as underwater sequences and exploring abstract memory vignettes. Implementation and EQ-ing in the space, as well as tracking paperwork, was also completed by me.


Director: Domenic Andolina
Scenic Designer: Alex van Blommestein
Costume Designer: Waverly Strickland
Lighting Designer: Melissa Andrews
Photography: Halo
Sound Designer
Emerge 2025
As Sound Designer for the University of Memphis's production of Emerge, I sourced and edited music, including making cuts and additions, putting effects on song tracks, and creating layered environmental soundscapes. Implementation and EQ-ing in the space, as well as tracking paperwork, was also completed by me.


Moonlit
Choreographer: Ella Lark
Starlit Music & Soundscape
Director: Rachael Arnwine
Scenic / Props Designer: Brian Ruggaber
Costume Designers: Margaret Andrews, Sphinx Curtis, Jasmine Gillenwaters Casey Gurlen, Caelan Ingram
Lighting Designers: Drew Hamby, Chris Hanian, Robert Kovacs, Elliot Norton, Anthony Pellecchia, Rowan Sullivan, Josh Williams
Photography: Ziggy Mack
Solace
Choreographer: Madison Hill

Asst. Sound Designer
Ride the Cyclone
RTC Preshow Soundscape DEMO
As Assistant Sound Designer for The University of Memphis's production of Ride the Cyclone, I helped with various forms of tracking paperwork, I sourced and implemented a number of sound effects for the production, and I helped with physical setup. I also created the preshow soundscape consisting of eerie, ghostly carnival ambient sounds layered on top of and alongside one another.

Director: John Yorke
Sound Designer: Rowan Sullivan
Scenic Designer: Clare Kelly
Costume Designer: Cole Hudson
Lighting Designer: Anthony Pellecchia
Photography: Bill Simmers
Asst. Sound Engineer / A2
The Most Happy Fella
As Assistant Sound Engineer and A2 for The University of Memphis's production of The Most Happy Fella, I helped with various forms of tracking paperwork, served as the intermediary go-between for sound and costumes, built various forms of mic rigs, served as one of the A2 mic wranglers for each performance, and helped with physical setup.
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Director: Ben Smith
Sound Designer: Christopher Plummer
Scenic Designer: Brian Ruggaber
Costume Designer: Kenann Quander
Lighting Designer: Chris Hanian
Photography: Bill Simmers
DID WE JUST BOMB YOSEMITE?
Trigger Warning: Guns / Violence
Theoretical Sound Design
DID WE JUST BOMB YOSEMITE?
As a theoretical sound design, DID WE JUST BOMB YOSEMITE? is a soundscape inspired by the video game Horizon Forbidden West. The sound design intends to portray feelings of deep, bone-shaking fear and bloody violence under the point of view of the narrator: just one apocalyptic soldier who managed to survive slightly longer than the rest, knowing their time is swiftly coming to an end and they can do nothing to stop it. Implementation of this concept includes crackling and the occasional distortion of sound due to data corruption, reinforcing the idea that these were past events possibly coming through a radio transmission that may have occurred so long ago that some of the data has been lost to time. It includes the sounds of metal machines clicking and whirring, coming from the war machine, Horus, and the robot swarm. The sound design includes sounds of battle, running, and a plane rushing by, reinforcing the idea of panicked, urgent movement. It also includes labored breathing, ears ringing sharply, shouting, explosions, and the like, reinforcing the idea that humans were experiencing mass death and destruction, promoting the idea of humanity and sympathizing with the soldiers of Earth.
Timing and volume play an incredibly important role. It fades in with chaos and destruction, sounds of vehicles and tanks and guns, followed by a plane and a rather large explosion, followed by more destruction, and ending with loud ears ringing, heavy breathing, and the aftermath. The Yosemite state park music at the end serves as something ominous and unsettling, as well as reinforcing location as well as the idea of black humor tied to the soundscape.

