Return to the Music of Dorian Gray
By A Noise Within
October 9, 2018
Sound Designer and Resident Artist, Robert Oriol, was part the crew for the original run of A Picture of Dorian Gray at Boston Court when the show originally premiered. Here, Oriol sheds some light about his work on the production and some of the feelings he hopes to convey to the audience.
What was it like working on the production the first time? What’s different about this time?
We mounted this production in 2006, and that was my first show at Theatre @ Boston Court. I had worked with Michael Michetti on a show in a much smaller space just prior to that, so most of my early memories are of learning the ins and outs of Boston Court’s very advanced sound system. That, and finding modern string quartet music that would be suitable for the play itself, as well as the choreographed sections.
What sort of response do you hope the sound design will evoke from the audience as they watch the production?
The goal of any sound design is to drive the story, and enhance it if possible. This is a very edgy play, and I hope the audience finds the experience immersive and moving.
What most excited you when creating the sound design for A Picture of Dorian Gray? What was your biggest challenge?
The challenge for me in 2006 was finding existing modern string quartet music that would work. For 2018, much of the music we used in 2006 was not available, so suitable replacements needed to be found. That was a challenge.
Now that you’re back in the booth, do you miss being in the orchestra for Man of La Mancha?
I always look forward to an opportunity to play live, especially with musicians of that caliber. As a sound designer and composer for theatre, however, those opportunities are few and far between, primarily because of the time commitment. So, yes, I do miss playing with the band for La Mancha, but I’m sure we’ll be seeing each other again over the next couple of years for one show or another.
