Accuracy in audio takes on a whole new dimension when staging a period work - especially when the period in question is within the memory of some (or all) of the audience.

There's no question when presenting a play set 10, 20, or 30 years ago that it's "period" - in that it's set in a period of time that isn't "now". For the moment let's settle on the 60's. The biggest difference between presenting the 1960's versus the 1860's, is that you're dealing not only with a time period people remember in their own lives - but that for those of us that are born after - we've still seen film and hear recordings of the period, as opposed to a time no one remembers personally and what that time sounded like up to everyone's imagination. Pretty much anyone over the age of 8 has an opinion on what the 60's sounded like - the cars, the music, the phones, and anything else that would be recreated in a sound design.

Just for fun lets set that period play not only in the 1960's, but in multiple countries - England, France, Turkey, Argentina, and Paraguay, just to name a few. Oh yes - with a 1944 flashback to Rome as the Allies march in.

That was exactly what my design parameters were for Travels with My Aunt, (based on the novel by Graham Green) which opened this past Sunday at the Alabama Shakespeare Festival. Every show is a learning experience - even if it's a 'refresher' or a 'do over.' and this was no exception. I love working in "modern periods" but that also means I have to be on my toes about the sounds I choose. There is nothing that will take me (as an audience member) out of the world more quickly than something that sounds wrong - either because it's in some sort of time warp or doesn't fit with what else is being presented.

Choosing effects was a careful process for me, comparing phone rings to make sure they didn't sound electronic, but at the same time didn't sound too antique. Phones in the 60's didn't sound like phones in the 20's. When choosing start ups, stops, and engine idle noise, I tried to pick sounds that were again - right for the country and period, but didn't sound like someone had broken out a model T for a classic car convention.

The other challenge was making sure that a range of effects - for instance the train and again the individual cars - sounded like the same train or car, so not only was it accurate to the period and place, but accurate to itself as well.

Perhaps one of my biggest obstacles, was wanting a specific sound - one that both the director and I could hear and describe - but couldn't find or manipulate to being "just right." The scene in question was the 1944 flashback, and at one point Allied planes pass over head. I knew exactly the sound I wanted - I've heard in in 100 war documentaries and news reels from the day - the low drone of a large bomber at a high altitude passing overhead - but finding exactly that sound - was another question entirely. I went through easily 15 versions of the cue - with fighters rather than bombers, bombers that were too modern, the right bomber but that was recorded in take off rather than overhead... In the end, I did some manipulation to a smaller plane, and almost got the right sound. Almost, but not quite. It was an effect in the end I had to settle for.

The two things that saved me from pulling my hair out for weeks on end, were 1) that most of the locals are visited briefly, and other than the scenes in England and Paraguay, only once. 2) That although I had to find ethnic and dance music, I had the opportunity to use some great 60's music - mostly British rock bands - lots of Beatles, along with the Hollies, The Zombies, The Kinks, and The Who.

I also have to say, that I have never been more grateful for the BBC Sound Library than on this particular show - not only for the English locals, but for the European counterparts as well.

In the end, could I say that this show is completely accurate and absolutely 60's? Well, maybe not completely - but it's pretty darn close.

Until next time cats and kittens,

Cheers ~ R