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My name is Gordon Romei, and I'm a theatrical sound designer newly arrived home in the San Francisco (East) Bay Area. I'd been active in the greater Portland, Oregon metro area since 2006, but life 'n' such lead me back.  I hope to design on Bay Area stages as soon as time, the Coronavirus and opportunities allow.

I appreciate the challenges unique to musical theatre and "straight" play design, and endeavor to balance the two when considering projects. I've focused on educational theatre since early 2014, both within public schools and private programs. I discovered that working with students is one of the most profound ways to remind one's self of why the art matters.

This site is intended equally as a showcase for my own creations, and a resource for others interested in learning about and playing with the creative possibilties of sound.  We are illusionists by trade, but on rare occasion, create real magic.

I approach sound design for theatre from the perspectives of extensive play with experimental composition/performance techniques, and a long history as a percussionist.

Theatre, music and dance often blended over the years, and I consider all sound as musical, equally valid in time and space. I'm as likely to suggest the sound of either a winsome, Mixolydian-mode harp passage for a cue as I am an hungover meerkat lounging on a hammock, impatiently awaiting a tropical drink to be delivered by a long-past-his-prime platinum blond lounge singer wishing he were Davy Jones.

Depends on the script, the show, and the director. If I'm not helping to tell the story, I'm failing.

“Running through Defunkt’s production [of ‘Blasted’] is water – showers, baths, the sound of rain. By the end of the performance the high-pitched clink of a drop hitting a flat surface is loud and distorted: it hurts your ears. The idea of the ritual cleansing, the purity of a brilliant and necessary element, is transformed into something useless against a tide of blood. Ceremony and catastrophe alike, through time, can be made vacant and meaningless. Gordon Romei’s sound design, which is instrumental to the production’s effectiveness, slowly creeps up on you like a stranger in a dark alley. “

- Christa Morletti McIntyre, Oregon ArtsWatch