Sound design and music selection is always an integral part of our productions, and “1984” was no exception. It did present some unique challenges. Several characters in the play only appeared as either a sound or a video cue–what should the quality of that sound be? What kind of music would exemplify this world? What other sounds would enhance it?
Scott Kump, our sound designer for the show, worked closely with videographer Brent Kuster, to achieve just the right quality for all the sounds. You’ll hear a difference between the announcer’s voice on-camera, versus his disembodied voice in the Ministry of Love. This is different again from the flatter sound in the arrest sequence (where we are presuming the equipment being used is cheaper). Goldstein’s voice is given a deliberately vintage, distorted quality.