Knoxville
Clarence Brown Theatre
Director and Choreographer – Josh Rhodes
Associate Director and Choreographer – Trina Mills
Orchestrations - Bruce Coughlin
Music Supervisor – Caleb Hoyer
Music Director – Ming Aldrich-Gan
Associate Music Supervisor – Terry D. Alford
Scenic & Costume Designer – Robert Perdziola
Lighting Designer – Kenton Yeager
Sound Designer – Joe Payne
Associate Sound Designer and Mixer – Allison Bucher
Stage Manager – Patrick Lanczki
Assistant Stage Manager – Nia Sciarretta
Associate Sound Design & Mixing
Book by Frank Galati
Music by Stephen Flaherty
Lyrics by Lynn Ahrens
Adapted from ‘A Death in the Family’ by James Agee and ‘All the Way Home’ by Tad Mosel
Knoxville is based on James Agee’s Pulitzer Prize winning A Death in the Family. The musical follows the Author, a representation of Agee, who in writing this novel, reflects on his childhood in Knoxville, Tennessee and the days leading up to and following the death of his father, which will forever have questions surrounding it. With this reflection comes the natural messiness of family, tangle of responsibility, resentment, love, and hope.
This production of Knoxville was a sort of “second try” produced by the Clarence Brown Theatre in Knoxville, Tennessee. While this was not the world premiere of this musical, some of the original creative team, and the writers, Lynn Ahrens and Stephen Flaherty returned and made some significant changes throughout the process. Because of this, I was able to work with composer Stephen Flahrety and the rest of the sound and music team to hone in on a "perfect mix" for the show.
As the associate sound designer and mixer on this production I generated all paperwork, console programming, and microphone tracking. I used TheatreMix to track and adjust DCA assignments throughout the production. This show consisted of 15 actors with wireless microphones, a seven-piece onstage band, and four actors who played ten instruments throughout the musical. Some of the actor's instruments, such as guitars, banjos, and mandolins were fitted with wireless microphones or pickups, while others, such as violins and accordions were picked up with the actor’s own body microphone, channeled and EQed separately.
This was the first time that I have ever worked with a Broadway composer, and I could not have asked for a better experience. Not only are the writing team incredibly lovely people, but they were incredibly complementary of my work on the production, going so far as to thank me on opening night for a "perfect mix." I will never forget the kindness they showed and all that I learned from them in this process.
