Bio
Bill Kirby with McCarter Theatre's Tony Award for Vanya and Sonia and Masha and Spike.
Bill Kirby is a professional theatre artist, specializing in sound design and live sound engineering for theatre. Bill has been based in Omaha, Nebraska since 2017, and is currently the Resident Creative and Technical Director at BLUEBARN Theatre. Educated at the Royal Welsh College of Music and Drama, Kirby spent the 10 years prior to his move to Omaha as the Head Sound Engineer and Resident Sound Designer at McCarter Theatre Center, one of the foremost regional theatres in America, located on the campus of Princeton University. Bill oversaw an audio department responsible for over 250 live performances per year, spanning theatre, dance, jazz, cabaret, classical, children's events and more. As McCarter's lead live sound engineer, he has mixed for world renowned artists including Audra McDonald, Josh Ritter, Rosanne Cash, Alan Cumming, Garrison Keillor, Ira Glass and David Sedaris, just to name a few. Bill played a pivotal role in McCarter's produced theatre series, working with some of America's top sound designers and directors in creating bold new work and fresh takes on classic plays and musicals. Kirby's most memorable theatre projects include the 2013 production of Into the Woods, which went on to runs in New York and London as well as a national US tour, and 2012's Vanya and Sonia and Masha and Spike, which went on the a successful run on Broadway and won the Tony Award for Best Play - an award that McCarter accepted as the developer and producer. As a freelance designer, Bill has designed for both professional and educational theatre, including the New York Fringe Festival, Passage Theatre, and Westminster Choir College. Kirby has also served as an associate sound designer, remounting existing productions around the world, including recreating Mary Zimmerman's The White Snake at the Wuzhen Theatre Festival in Wuzhen, China. He has taught sound design at the University of Nebraska at Omaha and arts technology at Midland University, and received the 2019 OEA Award for Outstanding Sound Design for BLUEBARN’s production of Indecent.
Press
News
Bill is honored to have one of his photographs featured on the cover of the May/June 2020 issue of American Theatre Magazine. If you’re able, please consider making a donation to a local theatre during the Covid-19 shutdown. The support of our communities will help ensure theatres across America are able to withstand the loss of income they have incurred and continue to shine a light on our hearts and souls.
Design
“The sound design of William Kirby is probably the best I’ve ever seen. Kirby’s use of sound in the show makes for a truly immersive experience...”
“Under the direction of Liesl Tommy, the talented ensemble cast is simply amazing. With their Liberian patois, they convinced me I was sitting in the middle of a LURD camp. Everything feels authentic, every line, every situation, every nuance — even the spare set, economically rendered by Carrie Bellinger and lit by Paul Kilsdonk, with a realistic sound design by Bill Kirby.”
“On set designer Joe Powell’s graffiti- and snipe-covered re-creation of a subway platform (and with Bill Kirby’s effectively subtle sound design providing apt aural color), James David Jackson’s production simmers with the quiet intensity of overly hopeful dreams that can’t help but fall to the harshness of reality.”
“Neil Patel’s unit set establishes a realistic parlor and kitchen, rich and vivid in its detail, complemented by Edward Pierce’s effective lighting, which, along with sound effects by Bill Kirby, helps create this world with both realistic and supernatural elements.”
“The Mill Hill Playhouse stage is one of the most intimate in the area. Matt Campbell’s set design that alternates barn and house is a marvel at capitalizing on this space. The ambient sound and the music between scenes set the tone perfectly, thanks to Bill Kirby’s sound design.”
“A technical team who became cast members in their own right through their transformational attention to every detail. The stormy night, the harsh to soft lighting elements, the subtle staging, and the detailed and plentiful costuming, all take their turn to shine. The technical crew includes the masterful Steven Williams, Bill Kirby and Georgiann Regan.”
“Bill Kirby has designed some of the best sounds I’ve heard in a production. Not only does the show have one of my favorite soundtracks, but I liked how subtle and appropriate the sounds always were. From the mood music used to softly boost the monologues to the howl of a wolf to the blowing of the wind, the sounds were virtually characters in and of themselves.”
Awards
2019 OEA Award - Outstanding Sound Design
Indecent - BLUEBARN Theatre
2020 OEA Award - Outstanding Sound Design
Red Summer - BLUEBARN Theatre
2015 barrymore Award - Outstanding Ensemble production
Little Rock - passage Theatre
Engineering
“The one thing that I insist upon is being able hear clearly and without distortion every witty word in this brilliant score. Imagine, if you will, not being able to clearly understand lyrics like that above. For the excellence of this aspect of the current production, I commend sound designer Darron L. West, who should be sent immediately to oversee the re-engineering in most sound booths on Broadway. ”
MEDIA
Pandemic Sound Design
Video Content Courtesy Of BLUEBARN Theatre - Sound Design & Mix by Bill Kirby
Before After
Buffalo Women
Sound Mixing
Video Content Courtesy Of McCarter Theatre Center - Sound Mix By Bill Kirby
Into the Woods
Sleeping Beauty Wakes
Antony & Cleopatra
UPCOMING
Macbeth
Sound Designer
BLUEBARN Theatre
Omaha, NE
Sept. 21 - Oct. 22, 2023
Recent Shows
Kinky Boots
Sound Designer
Omaha Playhouse
Omaha, NE
May 27 - June 26, 2022
Dreaming Zenzile
Co-Sound Designer
Repertory Theatre of St. Louis
St. Louis, MO
September 10 - October 3, 2021
Sweeney Todd
Sound Designer
Opera Omaha
Omaha, NE
February 2022
curriculum vitae
EDUCATION
2001 - Royal Welsh College of Music and Drama - BA (Hons) - Theatre Studies
1998 - George School - International Baccalaureate
SELECT PROJECTS
SOUND DESIGNER
INDECENT - 2019 - BLUE BARN THEATRE
By Paula Vogel, Directed by Susan Clement Toberer
SOUND DESIGNER
VENUS IN FUR - 2018 - BLUE BARN THEATRE
By David Ives, Directed by Ablan Roblin
ASSOCIATE SOUND DESIGNER & PRODUCTION SOUND ENGINEER
MURDER ON THE ORIENT EXPRESS - 2017 - MCCARTER THEATRE CENTER
Adaptation by Ken Ludwig, Directed by Emily Mann, Sound Design by Darron West. Currently slated for transfer to Hartford Stage in early 2018.
PRODUCTION SOUND ENGINEER
A CHRISTMAS CAROL - 2016 - MCCARTER THEATRE CENTER
Adaptation by David Thompson, Directed by Adam Immerwhar, Sound Design by Darron West. First staging of McCarter’s new annual production.
SOUND DESIGNER
THE PIANO LESSON - 2015 - MCCARTER THEATRE CENTER
By August Wilson, Directed by Jade King Carroll, Composition by Baikida Carroll.
ASSOCIATE SOUND DESIGNER
THE WHITE SNAKE - 2014 - WUZHEN THEATRE FESTIVAL - WUZHEN, CHINA
Adapted and Directed by Mary Zimmerman, Sound Design by Andre Pluess.
SOUND DESIGNER
THE FIGARO PLAYS - 2014 - MCCARTER THEATRE CENTER
Adapted and Directed by Stephen Wadsworth, Musical Direction by Gerald Steichen.
PRODUCTION SOUND ENGINEER
INTO THE WOODS - 2013 - MCCARTER THEATRE CENTER
Music and Lyrics by Stephen Sondheim, Book by James Lapine, Directed by Noah Brody & Ben Steinfeld, Sound Design by Darron West. Currently on a national US tour after successful remounts in New York and London.
PRODUCTION SOUND ENGINEER
VANYA AND SONIA AND MASHA AND SPIKE - 2012 - MCCARTER THEATRE CENTER
By Christopher Durang, Directed by Nicholas Martin, Sound Design by Mark Bennett. Transferred to Broadway and won Tony Award for Best Play.
CO-SOUND DESIGNER & PRODUCTION SOUND ENGINEER
AN ILIAD - 2010 - MCCARTER THEATRE CENTER
Adapted by Lisa Peterson and Denis O’Hare, Directed by Lisa Peterson, Co-Designed with Mark Bennett.
SOUND DESIGNER
ECLIPSED - 2009 - MCCARTER THEATRE CENTER
By Danai Gurira, Directed by Liesl Tommy. Original workshop production, which would go on to a Broadway run in 2015.
PUBLICATIONS
Featured in “Sound and Music for the Theatre - The Art and Technique of Design” (Fourth Edition) by Deena Kaye and James LeBrecht.
AWARDS
2019 OEA Award - Outstanding Sound Design - Indecent, BLUEBARN Theatre
2015 Barrymore Award - Outstanding Ensemble Production - Little Rock, Passage Theatre
Resume
PROFILE
Experienced audio visual technician, sound engineer and designer with 15 years of experience working in a multi- venue performing arts center. I am well versed in all aspects of audio and video design and presentation, as well as audio recording and computer networking of presentation systems. For the last 10 years I oversaw an audio visual department responsible for over 250 performances per year, spanning all forms of performing arts as well as university lectures and conferences.
EXPERIENCE
RESIDENT CREATIVE AND TECHNICAL DIRECTOR, BLUEBARN THEATRE 2017-PRESENT
As BLUEBARN’s resident creative, I serve as the in-house designer, both on and off the stage. While my main focus is on sound design, I also design lights, projections, and scenery depending on the needs of various productions. Off stage, I create graphic content for marketing and social media, as well as serving as the staff photographer. As Technical Director, I work closely with BLUEBARN’s visiting artists to facilitate making their designs a reality.
TECHNICAL DIRECTOR FOR THE PERFORMING ARTS, MIDLAND UNIVERSITY 2017-2019
I was responsible for growing, managing, and directing the Technical Performing Arts program at Midland University. I supervised a team of technicians to execute the technical needs of the performing arts programs and events. I also taught students in technical performing arts classes, technical internships, and student work studies.
HEAD SOUND ENGINEER, MCCARTER THEATRE CENTER, PRINCETON UNIVERSITY 2006-2017
As the Head Sound Engineer at one of America's most prevalent regional theatres, I was responsible for the day to day operation of McCarter’s Audio Visual Department, as well as season planning and long term capital improvements. I oversaw a staff of full-time and part-time employees, as well as serving as the lead audio mixer, working on both programing and operating audio consoles and video playback systems. I worked closely with sound designers on produced theatre series productions, many of which went on to national tours and Broadway runs. For presented events I coordinated with tour managers and artists in advance of their visits to the theatre, and facilitated their needs while they were in residence. I also helped train Princeton University students in the operation of the theatre’s technical systems. Additionally, I worked with McCarter’s Education Department on the design and operation of performances and events with children of all ages, and facilitated the studio recording needs of the entire organization.
SOUND ENGINEER, MCCARTER THEATRE CENTER, PRINCETON UNIVERSITY 2001-2006
As a Sound Engineer I was a full-time staff member reporting to the Head Sound Engineer, responsible for assisting in the operation of the theatre’s audio and video systems. I also worked as a Stage Operations team member, assisting in electrics, video, rigging, and scenic load-ins.
SOUND DESIGNER, WESTMINSTER CHOIR COLLEGE, PRINCETON NEW JERSEY 2007-2011
I served as the Sound Designer for Westminster Choir College’s Musical Theatre Program’s annual spring musical. This involved working with the faculty director and musical director in order to best serve the needs of the program’s marquee event, and working with performers training at the highest level.
FREELANCE SOUND DESIGNER, WORLDWIDE 2001-PRESENT
Over the past decade I have worked on a number of productions as a Freelance Sound Designer. This includes main stage shows at McCarter — most recently the 2016 production of August Wilson’s The Piano Lesson — and McCarter Theatre Education Department’s annual productions. In addition, I have designed productions at Princeton University and shows at the New York Fringe Festival and Trenton’s Passage Theatre. I have also served as an associate sound designer, overseeing the transfer of productions to new venues, most recently taking Mary Zimmerman’s The White Snake to the Wuzhen Theatre Festival in China.
EDUCATION
ROYAL WELSH COLLEGE OF MUSIC AND DRAMA — 2001
BA (HONS) THEATRE STUDIES, CONCENTRATION IN TECHNICAL THEATRE WWW.RWCMD.AC.UK
SKILLS
Wide range of experience within the professional technical theatre world, including operation of analog and digital consoles, wireless microphone operation, audio system building and tuning, sound and video playback software (SFX and Q-Lab), sound recording and editing (ProTools and Audacity), and communications system management (Clear- Com and Telex). Also competent in a wide range of technical theatre skills, including lighting (ETC systems), and video systems (including CCTV, projectors, and distributed video systems). Extremely technically proficient on both Mac and PC, computer networking, Microsoft Office, Powerpoint, Keynote, and ArtsVision scheduling software.
AWARDS
2019 OEA Award - Outstanding Sound Design Indecent, BLUEBARN Theatre
2015 Barrymore Award - Outstanding Ensemble Production Little Rock, Passage Theatre
PUBLICATIONS
Featured in “Sound and Music for the Theatre - The Art and Technique of Design” (Fourth Edition) by Deena Kaye and James LeBrecht.
