When Emi finished their Bachelor Of Music at Te Kōkī New Zealand School Of Music, they didn't have any theatre connections at all, and like many new graduates, took up opportunities as they arose. Eventually, Emi worked their way into the contemporary dance world and made the natural move into composition for theatre. As Emi's portfolio grew ever more impressive, the opportunity to be more selective with projects increased.
The more I work, the more I can do whatever I want, which is generally weird stuff.
Sound design and composition can often be overlooked by audiences as it's not directly observable on stage, but Emi knows sound design is a crucial part of stagecraft and shapes much of the audience's immersion.
[Sound design and composition] can low-key change the game... the experiential effect of sound somehow entering the brain/body means you can create a feeling instantly, without the audience rationally dissecting what's happening...You can push for a certain direction, create anticipation...without anyone really knowing that it's happening.
THE WASP is a very unusual script compared to most due to the low level of prescribed sound cues. This allowed Emi a huge amount of freedom to compose something very unique. Both Emi and director Sam Snedden took inspiration from '90s-'00s thriller movies. Another key source of reference for the sound score has been insects. Taking a cue from the title of the play, insects have inspired the instrumental and atmospheric layers. Listen to this exclusive sample for a taste of some such elements.
The play is set in the present day but references the past often. Emi confessed to listening to pop music from this same era in their downtime recently. This gave them a strong point of reference for the house music that plays before the show. Click here to hear a Spotify playlist of the house music that will set the tone before the show starts.
An important consideration of sound design is how the compositions will work in tandem with the other design elements of the show. The design team behind THE WASP are all contributing their own inspired ideas and coming together to form a cohesive whole that matches the tone of the spine-tingling script. The last time that most of this creative team were together was to create the 2018 MATCHBOX hit, Burn Her. This time, as well as having Meg Rollandi on production design, Jane Hakaraia has joined as lighting designer.
Emi says that there is a lot of trust in the group. A team who inspires each other to put everything on the table and have some friendly banter.
There's always some magic to be made, it's a coordinated effort, and can be particularly rewarding for a live environment.
We can't wait to hear more of Emi's work when THE WASP opens on 14 September in Loft. To learn more about Emi and their work, click here.
THE WASP is a part of the Q MATCHBOX programme.
MATCHBOX supports seasons through providing a box office split that includes venue hire, labour, equipment, rehearsal space, marketing support and opening night hosting, along with tactical and emotional support along the way from Q’s team. MATCHBOX would not be possible without the support of University of Auckland and The Gus Fisher Charitable Trust. Click here to learn more about MATCHBOX.
