Reflections on a Unique Collaboration: My Miles – Stone of an Experience with the SFA Theater Department – 63
Uniques is not even the word that describes this experience
In 2019, just before the world changed with the onset of COVID-19, I found myself embarking on a unique & remarkable journey with the Stephen F. Austin State University (SFA) Theater Department in Nacogdoches, Texas. This experience was sparked by a message from my good friend, Miss CC Conn, who reached out to me as a percussion artist for an upcoming production.
Little did I know that this collaboration would become a pivotal moment in my nearly decade-long journey of using drums as a therapeutic medium, intertwining my passion for music with the transformative power of theater.
The moment I stepped onto the SFA campus, I was enveloped by an atmosphere of creativity and excitement. The energy was palpable, and I couldn’t help but feel a rush of nostalgia, reminiscent of my high school days when I attended a performance of STOMP.
The rhythmic energy of that production had left a lasting impression on me, and the thought of contributing to a theatrical experience was both exhilarating and daunting. I quickly came to realize, however, that this theater experience would be vastly different, yet equally inspiring.
The theater team welcomed me with open arms and offered me an opportunity to explore a hidden underground cellar that many might deem a storage space filled with what looked like junk. But to me, it was a treasure trove of potential sounds and rhythms.
Among the discarded props and odd instruments, I saw endless possibilities—the scrap metal that could create percussive beats, the wooden planks that could resonate with a unique timbre, and the abundance of forgotten materials that could be repurposed to enhance the soundscape of the production.
The production itself was none other than Shakespeare’s Titus Andronicus, a play infamous for its bloody and violent themes. The weight of such intense material was not lost on me, and I was tasked with creating a soundscape that complemented this dramatic narrative. Collaborating with the director and actors, we discussed the emotional arcs of the characters, seeking ways to elevate their performances through sound.
One of the most exciting aspects of the production was the discovery that the theater department had invested in a drum machine specifically for the play. This machine allowed me to craft unique sounds—from the rhythmic echo of footsteps that mirrored the urgency of the scenes to the gentle trickle of water that symbolized the fleeting nature of life and power—that added extraordinary depth to the performance.
Campus, community collaborations highlight ‘Titus Andronicus’ performance
Among the strongest of these collaborations is with musician Casey Muze Williams of Starr Avenue Co. Williams is working with Conn, sound designer for “Titus,” along with the play’s assistant sound designer, Corpus Christi junior Armando Chavez-Garcia, and School of Theatre Technical Director Tyler Cureton to create the show’s sound accompaniment live, on stage with “found objects” rather than traditional instruments.Williams and Conn have explored various sound qualities of these items to match them with the moods within the play.
Chavez-Garcia and Cureton have created many of the objects which are part of the sound setup. There will be electronic sound playback and microphone support, as well.
Williams, a performance percussionist using numerous rhythm instruments, established Starr Avenue Co. in 2016 with an idea for hosting open invitation music jam sessions as a community outreach endeavor.
Throughout the rehearsal process, I experienced several enlightening moments that highlighted the synergy between sound and movement. One particularly memorable instance involved guiding one of the lead actors to synchronize her movements with the sounds I was producing. As she paced anxiously across the stage, I realized that the rhythm of my percussive footsteps could either enhance the tension or detract from it, depending on our ability to work together. With a few small adjustments, we found a groove that elevated the drama of the scene, creating a visceral connection between the audience and the performers. Witnessing that transformation was nothing short of magical—the applause that followed each rehearsal became a testament to our collaborative efforts.
Another highlight of this journey was incorporating one of my steel drums as both an introduction and a conclusion to the play. The bright, resonant tones of the steel drum contrasted beautifully with the darker themes of the narrative, creating a poignant framing device that resonated with the audience long after the curtains closed. It was a unique way to weave my musical identity into an established literary masterpiece, and I savored the opportunity to bring my personal touch to such a storied work.
Reflecting on this collaboration now, several years later, I realize how it served as a culmination of my experiences in both music and therapy. Each beat, each sound, was a reminder of the healing power of rhythm and creativity. This experience was not merely another project in my professional journey; it was a celebration of artistic collaboration and personal growth. It reinforced the idea that art, in its many forms, has the potential to connect us, to heal us, and to evoke emotions that may otherwise remain unexpressed.
As I look back on my journey as a professional percussionist, this project stands out as one of the most fulfilling. The lessons learned and the connections made during my time with the SFA Theater Department will stay with me, guiding me as I seek more opportunities to create and collaborate in the future. I am excited to explore the endless possibilities that rhythm can bring to the stage and beyond, knowing that each new project is a chance to weave together music, emotion, and experience into something truly remarkable.
“Healing Through Creative Thinking“
Healing Through Creative Thinking!
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