A Q&A with Resident Sound Designer Robert Gilmartin at The Marriott Theatre

Michael Eddy

The Marriott Theatre was founded in 1975 and has grown to be a staple of the Chicago theater scene. It has presented more than 180 productions to an estimated 11 million people over the years. With a well-deserved reputation for its productions of classic American musicals, The Marriott Theatre is also known for the development of original and re-imagined musicals. As a founding member of the National Alliance for Musical Theatre it assists and fosters artists in creating new works for the stage. It has also produced the regional premieres of many Broadway shows throughout its history, including A Chorus Line, They’re Playing Our Song, Miss Saigon, Cats, Beauty and The Beast, The Producers, Les Misérables, and Legally Blonde. Along with its regular full season of productions, Marriott also produces Marriott’s Theatre for Young Audiences, presenting original works as well as classic fairy tales in special one-hour productions. They have produced more than 75 shows, seen by over 2 million children. We recently spoke with Robert Gilmartin, Marriott’s resident sound designer. Gilmartin also oversees all the audio needs at the theater. His team consist of himself and sound engineer Sarah Ortiz, and between them they handle the main productions as well as the children’s theater presentations. Gilmartin has been with the company since 2007 and has done around 100 productions at The Marriott.

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Bridge and Tunnel (photo: Courtesy D. Korins)
Bridge and Tunnel (photo: Courtesy D. Korins)

Climbing The Ladder: Part II with David Korins

Howard Sherman

 In the April issue of Stage Directions, set designer David Korins spoke about his biggest recent projects: The Hamilton Exhibition, Hamilton, Dear Evan Hansen, and Beetlejuice. This month we conclude our conversation looking at his training and the development of his career leading up to those shows. (Ed.Note-This interview has been edited and condensed for space and clarity)

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Adaptive Design

Michael Eddy

Scenic Designer Edward Pierce talks design supervision, and 70 scene changes
Edward Pierce has worked for over 20 years on theater and entertainment projects around the globe including the Broadway scenic designs for Holler If Ya Hear Me, Amazing Grace, and The Other Place (the last two with co-designer Eugene Lee); lighting design for the Broadway revival of A Streetcar Named Desire; and he was associate scenic designer on both Bright Star and the Tony Award-winning scenic design for the hit musical Wicked. 

Edward PierceThis year, Pierce shared a Tony nomination with scenic designer Ian MacNeil, for the recent Broadway revival of Angels in America that came over from London’s National Theatre. For this production, Pierce was credited with design adaptation for making the changes necessary for the move from London to Broadway. Pierce heads up edwardpierce studio, who with designers Jen Price-Fick and Stephen Davan, have carved out a niche as design supervisors for Broadway productions that are going to tour or sit-down for a long run, both nationally and around the world.

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