Page Jumps:
Cortland Repertory Theatre
Portland Stage Company
Center for the Arts
Nolan A/V Production Group
Vital Theatre Company
The Rev Theatre (formerly Merry Go Round Finger Lakes Music Theatre)
Skyline Theatre Company
FullStop Collective
New York University
Open Waters Theatre Arts
The College of Idaho
Caldwell Fine Arts
Great Lakes Theatre Festival
Boise Contemporary Theatre
Balance Dance Company
Idaho Shakespeare Festival
Idaho Theatre For Youth
Trinity Repertory Company
Arundel Barn Playhouse
Zachary Scott Theatre Center (ZACH)
IATSE Local 205
Sarah Lawrence College
Berklee College of Music
Waynflete School
Children's Theatre of Maine 
Hacktor's Playhouse

   Cortland Repertory Theatre  - Cortland, New York

Sound Designer 2012 - 2020
Design, edit, and engineer sound effects and music; engineer live sound reinforcement.

Cortland Repertory Theatre is a summer stock theatre company in the Finger Lakes area of Central New York. CRT has won numerous Syracuse Area Live Theatre (SALT) Awards for both their musicals and straight plays and are currently building a new year-round theatrical space in downtown Cortland. During my time with CRT I have been re-engineering their audio system for greater versatility and clarity and advising on audio wiring and practices in their new year-round arts and events building. I often also serve as Live Mix Engineer for CRT's musicals and concerts.

  Million Dollar Quartet
Audio Design and Engineering: stereo acoustic piano, wireless electric guitar, two wireless acoustic guitars, 5-piece drum kit, 8 body mics

"The sound design, in the capable hands of sound engineer Seth Asa Sengel is top-notch and well-proportioned, filling the rafters of the Pavillion Theatre at Little York Lake with an end-of-summer treat." -

Bernard Herrmann, Classical Music, and TV Score-Based Sound Design: record player effects, glass breaking, laughing clown, gunshots, door effects, police siren and car effects.

Nominee, “SOUND DESIGN OF A PLAY” Syracuse Area Live Theatre Awards 2019

  Born Yesterday
1930's-50s Era Jazz, record player effects, light ambient city texture, door buzzer.

Nominee, “SOUND DESIGN OF A MUSICAL” Syracuse Area Live Theatre Awards 2019

  The Lady With All The Answers
1950's Era Jazz, record player effects, light ambient city texture.

Nominee, “SOUND DESIGN OF A PLAY” Syracuse Area Live Theatre Awards 2019

  The Rat Pack Lounge
Audio Design and Engineering: 3-Piece Band and 5 Bodymics, Voiceover Sound Effects
Nominee, “SOUND DESIGN OF A PLAY” Syracuse Area Live Theatre Awards 2019

  Women in Jeopardy
1990's Era Pop and Sitcom Transition Music, Suburban and Desert Outdoor Environments

Nominee, “SOUND DESIGN OF A PLAY” Syracuse Area Live Theatre Awards 2018

  Our Town
Light weather effects, some played live on percussion instruments, with recorded rural New England environments, recorded church organ. This whole production was beautiful.

Nominee, “SOUND DESIGN OF A MUSICAL” Syracuse Area Live Theatre Awards 2018

Audio Design and Engineering: 11-Piece Band and 27 Bodymics, 1900's NYC Environmental Sound Effects.

Nominee, “SOUND DESIGN OF A MUSICAL” Syracuse Area Live Theatre Awards 2018

  Saturday Night Fever
Audio Design and Engineering: 11-Piece Band and 27 Bodymics, 1970's NYC Environmental Sound Effects.

Nominee, “SOUND DESIGN OF A MUSICAL” Syracuse Area Live Theatre Awards 2018

  Rough Crossing
Ocean and Seaside Environmental Effects, Distressed Steamboat Creaking, and Wireless Digital Piano in Piano Shell.

Nominee, “SOUND DESIGN OF A PLAY” Syracuse Area Live Theatre Awards 2018

  Life Could Be A Dream
Audio Design and Engineering: 5-Piece Band and 5 Bodymics, Voiceover Sound Effects.

"The sound design, in the capable hands of sound engineer Seth Asa Sengel is top-notch and well-proportioned, filling the rafters of the Pavillion Theatre at Little York Lake with an end-of-summer treat." -

  Nana's Naughty Knickers
Naughty 1920's/1930's Jazz-Based Sound Design, Fictional Prohibition-Era 'Secret Room' Machinery Effects, QLab MIDI Control Commands to Digital Console.

  Appointment With Death
Mystery/Suspense Score-Based Design featuring Music from Film and Immersive Video Games, Hotel Lobby and Elevator Effects incl. a Mic-Enhanced Traveller Track, Desert Ambience.

Nominee, “SOUND DESIGN OF A PLAY” Syracuse Area Live Theatre Awards 2017

Audio Design and Engineering: 9-Piece Orchestra and 24 Wireless Bodymics, Ambient Rural Textures, Railroad/Train Effects.

  La Cage Aux Folles
Audio Design and Engineering: 9-Piece Orchestra and 22 Wireless Bodymics, Ambient French City Textures.

Nominee, “SOUND DESIGN OF A MUSICAL” Syracuse Area Live Theatre Awards 2017

  The 39 Steps
Film Score Based Sound Design, 'Over-The-Top' Comedy Effects and Cutoffs, Weather and Crowd Environments, Classic News Radio and Morse Code Bulletins, Single-Engine Airplane, Walkie Talkie Chatter.

"Seth Asa Sengel's sound design gives us a bracing Highland wind, quick bursts of party music, the sound of a train station, and dozens of other evocative moments." -Linda Lowen, 

"I would say 80 percent of the play or more is backed by music and very inventively produced sound effects, so kudos to the technical team for weaving melody and sound throughout. You’ll hear classic soundtrack cues from the great Hitchcock films and a few other flicks that you won’t be expecting." -Bryan VanCampen, - 

WINNER, “SOUND DESIGN OF A PLAY” Syracuse Area Live Theatre Awards 2017

  The Velveteen Rabbit
Music Box and Glass Harp Based Sound Design, Environmental and Fairytale Magic Effects.

  The Queen Of Bingo
Polka-Based Sound Design, Bingo Hall Environment - Light Chatter, Shuffling Papers, Voiceovers and Callouts, and 80's-era Bingo Machine Effects.

  The Receptionist / The Birds
Avant-Garde and Experimental Score Based Sound Design, Environmental Effects 

The Receptionist - phone and elevator sound effects.

The Birds - Experimental Strings

This was a full-surround sound design; 19 speakers used in order to create 3D panning effects, employing over 1900 QLab audio events. These effects included farm and country ambience, crows, seagulls, songbirds, chirpy birds, birds of prey, frogs, insects, objects being struck or falling, a fireplace, radio static and field-recorded broadcasts, dogs, monologue and distant yelling voiceovers, screams, loads of wings, and three dozen randomized sound effect groups - this was intended to be a near-living sound design that is, like the nature it seeks to portray, somewhat different for every performance while maintaining a solid and easy-to-operate control base for a quadruple-duty SM / LD / ME / A1.

"Seth Asa Sengel's sound designs are provocative, jarring, and reinforce the mood in both shows...." - 

"Eric Behnke's lighting and, even more crucially, Seth Asa Sengel's sound design are both perfectly realized and state of the art." - Syracuse New Times

   The Marvelous Wonderettes
Audio Design and Engineering: 5-Piece Band and 8 Wireless Body Mics, Motorcycle Sound Effects. 

"Lighting designer Eric Behnke and sound engineer Seth Asa Sengel were tasked with taking us out of the high school gym for various musical numbers, and the impact of their excellent work is most evident...." -

   The Kitchen Witches
Songs-About-Food Based Sound Design

Also appeared in performances as "Rob The Camera Guy"

"As diminutive and long-suffering Rob the Camera Guy (backstage guru Seth Asa Sengel) points his lens, the show goes on the air.... Sengel has been doing wonderful stuff behind the scenes at CRT, and how he’s doing great things as the show’s mute camera dude." -

"The fourth character, Rob the Camera Guy, is played by Seth Asa Sengel. Unflappable, Rob gives a fourth and sometimes enigmatic response to events in the play." -

   Cards On The Table
New Classical, Odd-Time Fusion, and WWII Era Jazz Based Sound Design, Countryside Soundscape

A music-intensive design using small segments of previously-recorded music material from various artists, of like musical quality, tone, instrumentation, or arrangement, re-arranged to create an original score and underscoring. Choices are made as to repeated segments and, in the case of a murder mystery, musical themes are also used as both clues and red herrings. 

Nominee, “SOUND DESIGN OF A PLAY” Syracuse Area Live Theatre Awards 2016

   A Chorus Line
Audio Design and Engineering: 11-Piece Band and 24 Wireless Body Mics.

   West Side Story
Audio Design and Engineering: 9-Piece Band and 22 Wireless Body Mics, City Soundscapes 

"Sound designer Seth Asa Sengel uses city street noises and the hum of traffic as a subtle background score." -

   A Fox on the Fairway
Classic Jazz-Based Sound Design with Golf and Social Gathering Soundscapes, Locational Effects, and 2 Wireless Mics (levels and effects controlled by QLab3)

Traditional Italian Folk Strings Bas Sound Design with Comedic Sound Effects and Basic Locational Ambient Soundscapes

   I Am My Own Wife
Early 1900's Phonograph Cylinder Based Sound Design - light ambient sound effect enhancements;  performed in the round employing a subtle area mic reinforcement system of 8 points, specifically routed to clarify consonants for specific seating sections when the actor faced opposite them.

   Always, Patsy Cline
Audio Design and Engineering - 5-Piece Band and 2 Wireless Body Mics.

"What struck this viewer was the incredible acoustics in the room, thanks to sound designer and engineer Seth Asa Sengel. That music, that voice and that storyteller was fresh." - Cortland Standard

   Suds - The Rockin' 1960's Musical Soap Opera
Audio Design and Engineering: 4 Wireless Body Mics, 4-Piece Rock Band.

"Sound designer Seth Asa Sengel deserves a nod. The musicians were hidden away, the actors singing with largely hidden mics, and the effect was flawless.” -

   Miracle on South Division Street
Elvis Presley Gospel Based Sound Design with location-specific environmental effects.

"The sound, designed by Seth Asa Sengel was crystal clear and well suited for this listener." -Cortland Standard

"Sound Designer of the Year, Play" Nominee, Syracuse Area Live Theatre Awards 2015

   The Addams Family - The Musical
Audio Design and Engineering: 16 wireless bodypacks shared with 20 headworn mic elements, 8-piece high energy/high volume band, basic sound effects and environmental textures.

"Sound Designer of the Year, Musical" Nominee, Syracuse Area Live Theatre Awards 2015

   Sherlock Holmes and the West End Horror
Solo Piano Based Sound Design - built by editing and re-arranging classical piano source material to create a music score.

"...Seth Asa Sengel's complicated sound design, made from a pastiche of many classical music compositions, is right and fitting for the era and the play's temperament." -Syracuse Post Standard

Audio Design and Engineering: 16 wireless bodypacks shared with 20 headworn mic elements, 10 'area' mics, 8-piece orchestra playing in baroque styles.

Nominee "Sound Design of a Musical" Syracuse Area Live Theatre Awards 2015

   Always a Bridesmaid
Contemporary Wedding Music Based Sound Design; thunderstorm and 'offstage crowd' sound effects.

   Ring of Fire: The Music of Johnny Cash
Audio Design and Engineering: 6 Wireless Body Mics, 10 Wireless Stringed Instruments, Southern Railroad Soundscape

   Making God Laugh
Sound Design Using Music, Media, and World Events, 1970's-2014

"...sound designer Seth Asa Sengel and lighting designer Louis Kreienkamp do a rather compelling and poignant thing between the acts … turning down the lights and playing snatches of dialog from the television news and music of the intervening years … reminding us quite forcefully how much we’ve all been through in the last thirty-four years …" -

   Sherlock Holmes and the Case of the Jersey Lilly
Mystery Sound Design "Score" with Highly Theatrical Sound Effects.

Score made using small segments of previously-recorded music material from various artists, of like musical quality, tone, instrumentation, or arrangement, re-arranged to create an original score and underscoring. Effects sometimes over-the-top in nature.

Also appeared in performances as Abdul Karim, servant and messenger to Her Majesty Queen Victoria and The Royal Family.

   Les Miserables
27 Body-Worn Wireless Mics, 9-Piece Orchestra, Light Textural Sound Effects, 1800s Rifle Battle

Nominated Best Musical, Syracuse Area Live Theatre (SALT) Awards

   All Shook Up
Audio Design and Engineering: 9-Piece Band, 11 Wireless Head Mics, 2 Offstage Mics.

   Alice in Wonderland
Uptempo Music Based Sound Design, cell phone effects, glass harp effects, short original rap song.

   Boeing Boeing
1950/1950 French and Contemporary Lounge Jazz Based Sound Design, airplane effects, vacuum effects, practical on-set doorbell, area mics.

   Shipwrecked: The Amazing Adventures of Louis De Rougemont
Acoustic sound design using native flutes, whistles, percussion, effect instruments and found objects (including a gutted piano), controlled and performed onstage by the actors. Enhanced area mic system and minimal effect processing. 

"...A whirlwind sea adventure to the South Seas where we meet up with a variety of interesting characters, dangerous life-threatening situations, and enough interesting sound effects to busy your ears throughout. Seth Asa Sengel's sound design employs a rich variety of found objects to produce everything from storms at sea to old-fashioned typewriters.Seth Asa Sengel's sound design employs a rich variety of found objects to produce everything from storms at sea to old-fashioned typewriters." - (Syracuse Post-Standard)

"Lighting designer Greg Solomon and sound designer Seth Asa Sengel, along with properties designer Lisa Guild, very much shape this action and contribute every bit as much to how the whole thing works as do the performers." - Syracuse New Times

   I'll Be Back Before Midnight
Horror Scoring Based Sound Design, Environmental and Processed Audio Effects.

Nominated for Best Sound Design 2013 in BroadwayWorld Central NY.

"...The entire cast and technical crew now working through CRT’s season-ending run of Peter Colley’s I’ll Be Back Before Midnight—particularly sound designer Seth Asa Sengel...deserve extra credit for wringing out so many effective scare chords in just the first act (three escalating scenes) alone. The technical credits are excellent throughout... the effect is so right and well-executed that we know immediately that we are in excellent hands." -Ithaca Times

   1940's Radio Hour
WWII Era Jazz Based Sound Design, Engineering and Live Mix, featuring period radio broadcasts. 11 Wireless bodypacks, 6 live mics, Keyboard, Bass, Drums, Trumpet, Trombone, Saxophone.

Mixed this show from onstage, above the proscenium line, while also portraying the character Stanley Gallagher.

   The Full Monty
Musical Sound Design, Engineering and Live Mix. 14 Wireless Bodypacks, 4 Area Mics, 1 Wireless Handheld, 2 Keyboards, Guitar, Bass, Drums, Trombone, Trumpet and Saxophone.

   Puss in Boots
Dixieland Jazz Based Sound Design, environmental and comedic sound effects.

   Buddy: The Buddy Holly Story
Audio Design and Engineering: 9 Full-Range Dynamic Stand Mics Using Wireless Packs, 4 Wireless Instrument Packs, 8 Wired Mics, 9-Piece Orchestra with 8 Backup Singers, Music and Environmental Sound Effects, Voiceover Recording and Processing.

Winner: Best Sound Design 2013 in BroadwayWorld: Central NY.

   Unexpected Guest
Mystery/Suspense Music Score Based Sound Design, Rural and Environmental Soundscapes

"Seth Asa Sengel's sound designs evoke the atmosphere of England in the era before World War II." - (Syracuse Post-Standard)

   The Mystery of Irma Vep
Audio Restoration and Enhancement of Samuel French Audio Score, Horror Based Sound Design.

Samuel French provides the option of a rental CD of the original score and sound effects. However, it is clear from the audio clarity and noise that it was transferred from a reel-to-reel deck to a cassette tape, and that cassette was recorded onto a CD. There are no accurate track divisions according to either the progression of the music or their placement within the script, some tracks cut off or jump in at the middle, and at some point the tape had to be flipped over, which is also audible in the recording. I made a full copy of the entire CD, re-divided the tracks, performed various levels of noise reduction and equalization, and remastered the entire Samuel French recording. I have not redistributed this to anyone, including Samuel French.

Nominated for Best Sound Design 2012 in Broadway World: Central NY

   The Drawer Boy
Appalachian Folk and Fingerstyle Guitar Based Sound Design, Farm Soundscapes

"Seth Asa Sengel’s sound design is very good, particularly in a long scene played entirely offstage when Angus gets his hand run over. In fact, as with CRT’s previous production of The Hollow, all technical values were excellent. I particularly liked the guitar score played before the play and during intermission." -

   The Hollow
WWII Era Jazz Based Sound Design, Rural and Storm Soundscapes

Audio Design and Engineering: 11-Piece Band and 14 Wireless Body Mics, City Soundscapes.

Nominated for Best Sound Design 2012 in Broadway World: Central NY

Audio Design and Engineering: 5-Piece Band and 16 Wireless Head Mics, Classic Drive-In Horror Movie Soundscape

   Ladies Man
Can-Can Based Sound Design

Pop, Classic Rock, and Fairy Tale Based Sound Design

      *   *   *
   Portland Stage - Portland, Maine

Portland Stage has been a professional theatrical force in Southern Maine since the 1970's. They celebrate the stage through dramatic and comedic plays, and new works. PSC also maintains a very comprehensive internship program training the next generation of theatrical artists.

Sound Designer 

   The Last Five Years
Keyboard, Violin, Cello; Two wireless bodypacks, one remote wireless pack, one wireless handheld; New York City and Ohio Lakeside environments.

   The Half-Light
Podcast Music based Sound Design with textures of atonal and experimental music, light soft bells and chimes, and haunted-house-inspired crashing and banging.

   The Importance of Being Earnest
Classical Music Sound Design with light comedic sound effects and naturalistic garden environments. 

   Sex And Other Disturbances
70's Funk based Sound Design and a wide variety of New York City rain textures.

   Buyer and Cellar
Solo Piano Musical Theatre based Sound Design featuring various environments. Popcorn maker. Smoothie Machine.

   The Snow Queen
Design Engineer - Original Sound Design by Gregg Carville and Hans Indigo Spencer

   Dancing at Lughnasa
1930's Celtic and Jazz Based Sound Design - backyard ambience, wind, chickens, birds, insects

Ambient Performance and Audience Sound Effects

   The Savannah Disputation

Classic Rock Based Sound Design - subtle naturalistic ambience and voiceover recordings.

"As always Seth Asa Sengel contributes a crisp sound design...." -

Orchestral Strings/Piano Based Sound Design - sour note tuning, localized computer and cell phone effects and noise.

"Seth Asa Sengel rounds out the stylish production with an excellent sound design which showcases Raine's poetic use of music in the play from Ruth's listening to Dalilah's aria, to the appropriately wordless Humming Chorus from Madama Butterfly to the magical moment when Debussy's Clair de Lune explodes into the moonlit sky at the close of Act I." -

   Words By - Ira Gershwin and the Great American Songbook
Great American Songbook style jazz - two hand-held wireless mics, three wireless body mics; piano, bass, trap kit, guitar.

   The Snow Queen
Design Engineer - based on the Original Sound Design by Hans Indigo and Gregg Carville

“…sound design injected the sensory balance, finishing touches for full immersion within the story." - The Portland Daily Sun

Liturgical Chant and Choral Music, Orchestral Strings, Folk-Rock, Spatial Effects, Ambient Textures based on Experimental Instruments

This design included a complex localized panning sequence using 12 speaker positions, to create the sound of a Wittenberg University tennis match on a dirt court. This audio tennis match was between a college-aged Hamlet (an actor onstage) and the disembodied voice of Laertes, his opponent, playing from the opposite court position at the back of audience, assuming a midpoint within the audience as the location of the net. The sequence involved over 300 audio events in QLab2, including an announcer voiceover to call the match, Laertes’ dialogue and/or straining grunts typical of a player in an intense tennis match, running footsteps moving Laertes to different parts of the house “court” area, the tennis ball moving between the onstage and back of house, with bounces in between, and field-recorded and sourced crowd sounds for each point in the match, specified crowd responses, and crowd presence and heckling throughout. The sound design also involved tavern and campus quadrangle ambience, and choral church bells.

"Sound was a major contributing factor in this production and Seth Asa Sengel was up to the challenge." - The Portland Daily Sun

"...Seth Asa Sengel's sound design evokes the medieval milieu, amusingly and anachronistically punctuated by folk-rock coffee house songs." -

"...sound designer Seth Asa Sengel’s recorded chants beautifully recreate an early-Renaissance ambiance." -

   A Song At Twilight

Subtle, naturalistic sound design with Noel Coward pieces on recorded and live piano.

Traditional French Accordion Based Sound Design, Backyard and Village Soundscapes

"Sound designer, Seth Asa Sengel, gave subtle but poignant ambiance with the sounds of nature, a distant train, a passing flock of geese, and the bells of time."

   I Am My Own Wife (co-production with Idaho Shakespeare Festival and Portland Stage Company)
Design Engineer - based on an Original Design by Peter John Still

   The Collected Stories, 2000
Contemporary Music Sound Design, City Soundscapes

Sound Engineer

The Tales of Washington Irving, 2000
Three Tall Women (also operating lights and follow spot), 2000

   Assistant Stage Manager

Blithe Spirit, 2000

      *   *   *

   Center for the Arts - Homer, New York

The Center for the Arts is a concert and events facility in Homer, NY, hosting award-winning and world-renowned musicians, as well as local theatre, opera, cabarets, community events, outreach, and education programs. I began with the Center by helping reconfigure their audio system for better overall quality and even-coverage. I am also fortunate to be one of several sound engineers mixing their live events, as time and opportunity allow. Highlights so far have included Shemekia Copeland, Livingston Taylor and Tom Chapin, and the Old Boy Records Showcase.

In addition to ongoing live mixing for the primary stage, helped to rework and reposition the control booth and audio components for better clarity of signal and more diverse application; a malleable solution while the facility plans and pursues permanent upgrades.

   Girsa - Mar 5, 2016
Five-piece Celtic group performing Piano/Keys, Acoustic Guitars, Bodhran, Accordions, Fiddle, and Vocals.

   John Jorgenson Bluegrass Band - Feb 20, 2016
Five-piece Bluegrass group performing Mandolin, Acoustic and Electric Guitars, Upright Bass, Banjo, and Vocals.

   Shamekia Copeland - Feb 6, 2016
Six-piece Blues Rock group performing Piano, Bass, Electric and Acoustic Guitars, Drums, and Vocals.

Livingston Taylor and Tom ChapinMar 19, 2016
Acoustic duo performing Piano, Banjo, Acoustic Guitars, Autoharp, and Vocals

      *   *   *

  Nolan AV Production Group - Memphis, Tennessee

2014 - 2015 Stagehand, Audio Technician

Nolan's Audio Visual in Tennessee is a well-established professional A/V rental and production company, specializing in touring music and dance concerts and other stage events.  While working for Nolan's A/V I assisted with stage lighting setups (hang, focus, teardown) and various audio needs for Germantown Performing Arts Center and The Canon Center.  Highlights included work with Diavolo, Mummenschanz, The Bar-Kays, and Mavis Staples.

   Mavis Staples - Feb 13, 2015

Soul group performing Piano, Bass, Acoustic and Electric Guitars, Drums, Percussion, Lead and Backing Vocals

      *   *   *

  Vital Theatre Company - New York City

2013 - 2014 Sound Engineer

   Pinakalicious The Musical - 2014
Live Sound Engineer for touring production, performing in the North East.

   Fancy Nancy The Musical - 2013-2014
Live Sound Engineer for touring production

Clarion, PA
Kalamazoo, MI
Farmington Hills, MI
West Bloomfield, MI
Monroe, MI
Toledo, OH
Jackson, TN
Forrest City, AR
Roanoke, VA
Detroit, MI
Allentown, PA
Bangor, ME
Newton, MA

      *   *   *

   The Rev Theatre (formerly Merry Go Round Finger Lakes Music Theatre) - Auburn, New York

Lost Highway, 2013
Guitar and Microphone Technician


      *   *   *

  Skyline Theatre Company - Fair Lawn, New Jersey

Sound Designer

Design and edit creative audio for live theatrical productions.

The 39 Steps, 2013
Sound Design based on classic Hitchcock films and stock sound effects.

"The creative team of Duane McDevitt on sets, Patricia Nichols on lights, and the 5th character of Seth Asa's sound design has transported this play well beyond '39' steps in the heights in which they climb." -


      *   *   *

    FullStop Collective - New York City
Sound Designer · October 2012 to March 2013 · New York, New York

Design and engineer sound effects and music.

Foreplays 2013
Varied Sound Design ranging from Classical Music to Pop Hits, plus field-recorded NYC subway environment effects.

Outfoxed, 2012
Experimental Looped Cello and Italian Electronica Based Sound Design, Various Textural Soundscapes


      *   *   *

    New York University - New York City
Overhire Electrics and Audio Engineer · 2012 to 2013 · New York, New York

Assist with setup of lighting instruments and audio equipment for Drama Department, as needed.

The Camino Real
May 2012
QLab2 playback, minimal live audio engineering.


      *   *   *

    Open Waters Theatre Arts - Portland, Maine

Of Farms and Fables, 2011

Maine Folk and Bluegrass Based Sound Design, Farm and Urban Soundscapes Created From Locally-Captured Field Recordings


      *   *   *

    Great Lakes Theater - Cleveland, Ohio

Macbeth (co-production with Idaho Shakespeare Festival)

Musician: Taiko Drumming and Shakuhachi Inspired Native Flute

"The play was magnificent. The drums and cymbal-shields on either side of the stage and expertly timbered by drummers Seth Asa Sengel and Matthew Webb heightened the ritual feel and the darkness of the play. The demonic ritual of blood and death was emphasized by the drumming, the tingling shields, and an occasional flute." -

"You can't have lots of warfare and fighting-with real steel swords-and a pair of well-muscled drummers (Seth Asa Sengel and Matthew Webb) right there on stage without noise. It all makes the battle scenes the more realistic. As well as a large drum, each drummer also has a huge shield-like piece of metal beside him, to use as cymbal or other sound effect. Sengel also played flute at various times. It's fascinating theater." -


      *   *   *

    The College of Idaho - Caldwell, Idaho
   Audio Visual Technician - Audio and Video Technology Training, Support, and Maintenance

Sound Designer

   Dead Man's Cell Phone, 2010
Modern Rock Based Sound Design, City and Rain Soundscapes

   Seasons Greetings, 2009
Holiday Jazz/Pop Based Sound Design, Fireplace and Television Soundscapes

   Mad Woman of Chaillot, 2007
French Mazurka Based Sound Design

   The Mineola Twins, 2006
Modern Rock and 78 RPM Record Based Sound Design, City and Suburban Soundscapes

   Lysistrata, 2001

Amon Tobin Jazz DJ Based Sound Design, Comedic Sound Effect Soundscapes


      *   *   *

    Caldwell Fine Arts at Jewett Auditorium - Caldwell, Idaho

Sound and Lighting Engineer

   Classical and Traditional Music

All-American Boys Chorus

American Chamber Players — Miles Hoffman, Viola; Sara Stern, Flute; Lisa Shitohen, Violin; Alberto Parrini, Cello; Jean-Louis Haguenauer, Piano

Boise Philharmonic Chamber Orchestra, Maestro Robert Franz

Boise Philharmonic Pit Orchestra

Boise Baroque Orchestra

BYU Chamber Orchestra, Conductor Kory Katseanes

Colorado Children’s Chorale

Idaho Showcase: Keiko Forrey, Cello with Yin-Min Chang, Piano; Robyn Wells, Piano; Curtis Crafton, Baritone & The College of Idaho Sinfonia String Ensemble

Opera Idaho: Amahl and the Night Visitors

Handel’s Judas Maccabeus Oratorio


An Dochas and Haran Irish Dancers

Ballet Folklorico “Quetzalli” de Veracruz

Ballet Idaho: The Nutcracker

BYU (Provo) Ballet Theatre: Fairy Tales and Fantasy

Golden Dragon Acrobats of China

Repertory Dance Theatre: Time Capsule

   Jazz and Contemporary Music

Treasure Valley Swing Band/ED’S BIG BAND

Band of the Golden West Jazz Ensemble

Big Band Swing Design from Netherlands

Louis Ford & the New Orleans Flairs

The Perfect Gentlemen “A Salute to the 20th Century”

Big Bang Jazz Band

Side Street Strutters: Disneyland Jazz Band

The Colwell Family Reunion (“Up With People” Revival)


Carl Rosa Company from England: The Pirates of Penzance

Faustwork Mask Theatre

Second City Improvisational Comedy

Missoula Children’s Theatre: The Frog Prince, Robin Hood, The Little Mermaid, Pinocchio, Pied Piper, Snow White and the Seven Dwarfs

Timothy Mooney Repertory Theatre: Moliere Than Thou

  Virtuoso Instrumentalists and World Music

Alexander Ghindin, Cleveland Piano Competition Winner

Angel Romero, Guitar, & his wife Nefretiri

Ben Model, organist and composer

Brad Richter, guitar & Victor Uzur, cello

Carlos Del Junco, harmonica virtuoso

Chu-Fang Huang, Cleveland Piano Competition Winner

Goldina & Loumbrozo Piano Duo

Imani Wind Quintet

Martina Filjak, Cleveland Piano Competition Winner

Quartetto Gelato on “The Orient Express”

Obo Addy & Okropong — Ghanaian Music & Dance

Rebecca Stern, Violinist

Roberto Plano, Cleveland International Competition Winner

Rongchun Zhao, Erhu; Robyn Wells, Piano Accompanist

The Celtic Tenors with Shannon Deirdre, Soprano

San Jose Taiko

Trio Voronezh, domra, bajan, bass balalaika

ZUM Gypsy Tango Band


      *   *   *

    Boise Contemporary Theater - Boise, Idaho

Sound Designer

   The Pillowman, 2008
Classical Piano and Experimental Flute Based Sound Design - country, forest, and torture room ambience, children screaming, rats.

   The Drawer Boy, 2007
Appalachian Folk Based Sound Design - farm ambience, cows, chickens, sheep, birds, insects, and crickets for Danny P.

   The Physics of Regret, 2006
Rhythmic Pop Based Sound Design and Original Composition - weather ambience, effected voiceovers, rhythmic looping.

   Eleemosynary, 2005
Solo Guitar Lullaby Based Sound Design and Performance - single string guitar melodies, 8mm film sound effects.

   The Dazzle, 2004
Recorded String Quartet Based Sound Design - objects falling and breaking, light NYC ambience, external party ambience.

   Dracula, 2004
Horror Sound Design And Live Classical Strings - shovels in dirt, whale songs slowed to bass frequency range, howling wolves (of course), weather and country ambience.

   Burn This, 2004
Modern Rock Based Sound Design (collaboration with Kyle Daniel Barrow) - NYC traffic and harbor soundscape.

   The Santaland Diaries, 2003
Holiday Jazz Based Sound Design

   Waiting for Godot, 2003
Wind Based Sound Design - a blend of natural wind sounds with slowed recordings of passing cars, re-pitched and reverberated.

   Stop Kiss, 2003
Modern Rock Based Sound Design

   Valparaiso, 2003
Experimental Electronic Music Based Sound Design (collaboration with Jeff Rice)

   Fuddy Meers, 2002
Ween Based Sound Design - ambient soundscapes, car interiors, car radio, echoing dog barks

Sound Engineer
I Am My Own Wife (co-production with Idaho Shakespeare Festival and Portland Stage Company)
Fully Committed, 2004
Dracula, 2004
Cloud Tectonics (staged reading), 2004
The Santaland Diaries, 2003
Waiting for Godot, 2003
Lobby Hero, 2003
The Cherry Orchard, 2002
Three Days of Rain, 2001
True West, 2001


      *   *   *

    Balance Dance Company (and Drop Dance Collective) - Boise, Idaho

Freelance Sound Engineer and Audio Editor, 2000 - 2005


      *   *   *

    Idaho Shakespeare Festival

Sound Designer

   Idaho Theatre for Youth: Aesop's Network
Modern Rock Based Sound Design

   Shakespearience: Othello
Experimental Jazz Based Sound Design

   Idaho Theatre for Youth: The Wind in the Willows
Modern Rock Based Sound Design

   Shakespearience: A Midsummer Night's Dream
1980's Pop Based Sound Design

   Love's Labour's Lost
Jun 2006 to Aug 2006
Mainstage Production; British Rock and Erik Satie Based Sound Design

   Idaho Theatre for Youth: Dreams of the Bird Woman
Jan 2005 to Feb 2005
Environmental and World Percussion Sound Design Composition

   Idaho Theatre for Youth: The Three Questions
Middle Eastern Inspired Sound Design Composition

   Shakespearience: Romeo and Juliet
Modern Rock Based Sound Design (collaboration with Peter John Still)

   Idaho Theatre for Youth: Moss Gown
MIDI Based Score; Sound Design and Additional Composition

   Idaho Theatre for Youth: Jack Frost
Balalaika Based Original Composition and Sound Design

   Idaho Theatre for Youth: Tiny Fiend and the String Ball
Score Engineering and Sound Design

   Shakespearience: Hamlet
Philip Glass Based Sound Design: Asian Mood

   Shakespearience: Twelfth Night
Philip Glass Based Sound Design: Middle Eastern Mood

   Titus Andronicus
Sound Design Assistant to Peter John Still


On-Stage: Taiko Drum and Shakuhachi-Inspired Native Flute

   A Funny Thing Happened on the Way to the Forum
Off-Stage: Bass

   As You Like It
On-Stage: Electric and Acoustic Guitar, Ceterone

Sound Engineer
A Midsummer Night’s Dream
The Winter’s Tale
The Complete Works of William Shakespeare (Abridged)
The Three Musketeers
The Two Gentlemen of Verona
Much Ado About Nothing
Forever Plaid
Arms and The Man
You’re a Good Man, Charlie Brown
The Importance of Being Earnest
The Comedy of Errors
Henry V
The Fantasticks
As You Like It
The Merry Wives of Windsor
Julius Caesar
I Am My Own Wife (co-production with Boise Contemporary Theater and Portland Stage Company)


      *   *   *

   Trinity Repertory Company, Providence, RI
Carpenter and Focusing Electrician, 1998

      *   *   *

    Arundel Barn Playhouse, Arundel, ME
Set Construction and Scenic Art, 1998

Greater Tuna, 1998 (Musician - Acoustic Guitar)

Forever Plaid, 1998 (Sound Engineer)


      *   *   *

    Zachary Scott Theatre Center, Austin, TX

Set Construction and Scenic Art

Forever Plaid / The Taffetas (Lighting Operator), 1997
La Cage Illusions (Stage Manager, Lighting/Sound Operator), 1997 - 1998
Managed Care (Lighting Operator), 1998
Angels in America Part 1 (Rigging Supervisor), 1998


      *   *   *

   IATSE Local 205   , Austin, TX
Stagehand, 1997-1998 


      *   *   *

    Sarah Lawrence College - Bronxville, New York

1995 - 1996

Major in Theatrical Stagecraft

Concentrations in Workshop Ensemble Theatre, Lighting Design, Electronic Music Techniques, Creative Writing, Visual Arts, Guitar, and Flute

Work Study in Scene Shop: Scenic Carpentry, Scenic Art, Prop Crafts, Sound Operation and Technology, Lighting Operation and Technology

Assistant Stage Manager
Sunday In The Park With George, 1995


      *   *   *

   Berklee College of Music - Boston, Massachusetts

1994 - 1995

Major in Professional Music: Woodwinds (Flute)

Flute Ensemble, Studio Jazz Band (Flute), Ear Training, Music Theory, Music Notation, Ewe and Dagbamba Percussion, Audio Reinforcement, Electronic Effects Processing, Electronic Music Techniques, Essay Writing, Creative Writing: Music Review and Critique

      *   *   *

  Waynflete SchoolPortland, Maine

1989 - 1993

Private high school specializing in an immersive college-style liberal arts education with emphasis on community involvement and individual excellence.

Honored for Creative and Written Music Studies

Concentrations in Flute, Guitar, Drums, Creative and Essay Writing, and Broadcast Communications and Technology

Internships and Employment in Radio (WBLM, , FCC-Broadcaster Licensed

      *   *   *

   Children's Theatre of Maine - Portland, ME


2nd, 3rd, and 4th Young Playwright's Festivals (Musician)
Really Rosie (Musician)
Christmas Carol (Musician)
James and the Giant Peach (Spotlight Operator)

      *   *   *

   Hacktor's Playhouse - Parsonsfield, Maine
A Night In Padua (Lighting Operator)
You're A Good Man, Charlie Brown (Lighting Operator)
Story Theatre (Musician)
The Red Shoes (Lighting Operator)