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This article distinguishes a lack of crossover between voice coaches and sound designers and seeks to bridge the gap between the two, as both roles have a direct effect on the sonic product of a theatrical production. The article provides contextual exposition regarding the shift to microphone usage in the theatre and offers a literature review identifying an absence of discipline overlap within both vocal pedagogy and theatrical sound design texts, making reference to directorial literature as well. Using participatory action research and exploratory case study, the article examines when the researcher spent one month coaching a production of Sophie Treadwell’s  Machinal  at a university in the United States, while working closely with the production’s sound designer. The case study’s analysis includes three proposed solutions to the issues identified and suggestions for bridging the practical gap between voice coaches and sound designers.

Bridging the Gap between Voice Coaches and Sound Designers in the Theatre