Age Is A Feeling: Soulpepper, Toronto

Project Overview

In 2024, Robert from PRONK! had the pleasure of enhancing the sound design for Age Is A Feeling at Soulpepper Theatre in Toronto. This solo piece, written and performed by Haley McGee, had already garnered significant acclaim before our collaboration. Originating from a small 30-person theatre, The Rosemary Branch in London, it later sold out at Soho Theatre, Edinburgh Fringe Festival 2023, and continued its success at the main theatre in Soho, London. Directed by Mitchell Cushman, with original dramaturgy and direction from Adam Brace, the piece is a profound exploration of one woman’s life, meticulously crafted over years through research, conversations, and real-life experiences.

Play Description

Age Is A Feeling delves into the adult life of an unnamed woman, beginning on her 25th birthday, a milestone where neurological development is said to complete, signifying that one’s decisions henceforth are entirely their own. Haley McGee sits atop a wooden lifeguard’s chair, narrating her life in second person, allowing the audience to project their own experiences onto her journey. Surrounded by suspended sprays of flowers, each with an envelope containing a word, the audience plays a role in choosing the stories told. This play highlights the randomness and chance in life, offering a profound reflection on love, regret, aging, and family dynamics.

Sound Design and Composition

While the text-heavy nature of the play limited the opportunities for sound design, each element included was crafted with exceptional detail:

1. Pre-Show Playlist:
   • The pre-show playlist set the tone for the audience as they settled into their seats, creating an atmosphere that bridged the everyday with the introspective themes of the play. It is a collection of works under the title ‘Wonderland’ by British composer Michael Nyman, a favourite of Brace and now intimately connected with the show.
2. Opening Ocean Wave:
   • At the start of the performance, a trickle of sea quickly erupts into a thunderous ocean wave, connecting the piece to nature, the indiscriminate state of change, and to symbolise the ebb and flow of life, providing a contemplative entry point into the start of narrative journey.
3. The rumble of approaching death:
   • A barely perceptible, multilayered rumble in surround sound was appears from underneath the audience. This was fun to experiment, at one point even making a member of the production team sick! Filling the space with imperceptible sound, adding to the underlying tension and depth to the storytelling, makes for an interesting effect when cut to silence.
4. Recurring Melodic Theme:
   • An original composition based on a recurring melodic theme sung by the protagonist was developed, seamlessly weaving through the performance and anchoring the emotional peaks and valleys of the narrative. This theme was carefully orchestrated and arranged to resonate with Nyman’s work introduced at the beginning of the show, creating a cohesive auditory journey that begins and concludes with this evocative melody.
5. Amplification of the Actor:
   • Ensuring that McGee’s voice was perfectly amplified was crucial, given the play’s reliance on nuanced storytelling and the intimacy required to convey the text’s full emotional weight. We wanted to make sure it was as close to Haley’s natural performance volume (without straining), whilst also ensuring sufficient amplification to reach the audiences at the back of the auditorium.

Critical Reception

The production received high praise, notably for its emotional and artistic maturity. Reviews highlighted how the sound design, though minimal, elegantly complemented the powerful narrative.

Review Excerpts:

1. The Toronto Star:
   • “Every part of the production, presented by Soulpepper in association with the Luminato Festival — from Daniel Carter-Brennan’s lighting to Robert Moutrey’s sound design — plays a key role in establishing this liminal theatrical space.”
2. The Guardian:
   • “How did Haley McGee grow so wise? You would expect a solo fringe show about turning 25 to be a solipsistic run-through of first-world problems. Age Is a Feeling is anything but. If it had been written by a performer at the end of her life, it would count as an astonishing insight into the human condition. For McGee to show such wisdom at 36 is as breathtaking as it is moving.”

Conclusion

Age Is A Feeling is a testament to the power of storytelling, where every word and sound is purposefully chosen to evoke deep emotional responses. Robert’s sound design for this production, though minimal, was crafted with exceptional detail, culminating in an elegant portrayal that enhanced the audience’s connection to the narrative. This project not only showcased our ability to work within text-heavy constraints but also highlighted the importance of thoughtful sound design in creating a rich, immersive theatrical experience.

Multimedia: