Meet Sound Designer Sharath Patel

Sharath Patel

Meet the multi-talented artist behind the sounds of the Miracle’s production of Luis Alfaro’s Oedipus el Rey. Sharath Patel has literally spent his life traveling. Ask where he grew up and he will recite a list that includes Athens, Ohio, all over the U.S. eastern seaboard, Western Europe, and India. He got his first professional theatre job at the tender age of 16 before getting a BFA from Ohio University and getting an MFA from the Yale School of Drama. Before moving to Portland, he had spent a better part of a decade based out of NYC designing sound around the world.

Sadly, he moved to Portland due to unfortunate circumstances. In 2009, Patel was the victim of a vicious racial hate crime. The incident forced him to re-evaluate his life leading to a reconnection with an old friend who was now living in Portland. He moved out to Portland in the fall of 2010 to heal and to be with her. Miracle Theatre Group is proud to introduce Sharath Patel to our family. Find out more about Patel in this exclusive interview with the Miracle Insider ...

What do you do? And how did you get started in this field?
I am a full time theatrical sound designer.  I work in film, dance, educational program, as well as in corporate environments.  Translation: I edit and compose music and soundscapes, create effects, record voice-overs, and design sound systems.  I tell most people I got into theater because of my love and devotion to music, but honestly, I got into theater to meet girls.  Which is funny because I meet my fiancé who also works in theater, when neither of us was working…

What do you look forward to when working on a new project? 
I love working on shows that take me out of my comfort zone forcing me to work in any musical genera that I may not be familiar with.  When I first meet with a director I like to set up a “listening test.”  Basically, a “listening test” is a collection of music that I put together and go over with the director to figure out what is going on in their mind’s ear.  From there we open the conversation about music, which leads to honest collaboration down the road.

Can you tell us about your work on Oedipus el Rey?
Working on Oedipus el Rey was wonderful because I got to work in my typical process.  I like to be around for rehearsals to integrate sounds and music as soon as possible.  The biggest challenge for me on this show was writing the music for some of the underscores.  I don’t consider myself a very strong composer, but I love the challenge of hard work!

Most memorable sound designing experiences?
I tend to remember a challenge, so one of the most difficult experiences I have enjoyed would be the most memorable to me.  Designing sound for Binding at PS122 in NYC was a project I will never forget.  I worked hand-in-hand with the composer, director and solo performer for five solid months of rehearsals and re-writes. The final product was amazing and we were rewarded with the 2010 Innovative Theater Award for Performance Art Production in New York City.

What was the first show you ever worked on? 
The first professional show I worked on was a musical production of The Wizard of Oz as a sound board operator.  I operated the show utilizing 5 Mini Disc players, 2 CD players, and 3 Beta-Max Video Cassette players.  I ran the show for 2 months and never actually saw the show because of all of the machines stacked in front of me.  It kinda felt like I was playing the piano with all of the play and pause buttons!

Is being a sound designer a just like any other job or do you feel you are in a constant search for the perfect mix of sounds and images in your head?
This is a funny question!  I am always listening and observing.  I can be walking down the street and I hear a cool rhythm that the traffic or the birds are making and I will store it in the back of my mind.  I get back into my home studio and I feel a compulsion to take the noise in my head and turn it into a cool beat.

Are there any other accomplishments that you are exceptionally proud of? 
I am very proud to be the original sound designer of Seven, a play produced by Vital Voices an NGO supported by Hillary Clinton.  The play address women’s rights issues around the world specifically dealing with woman’s healthcare in Afghanistan, the sex trade in Cambodia, and domestic abuse in Russia, among other issues.  Vital Voices enabled us to perform at the 2008 International Women’s Rights Conference in France and at Vital Voices of Asia 2010 in India.

In addition since moving to Portland I still work pretty frequently back east and I fly back and forth between the coasts.  For the past four years I have been teaching workshops at Yale University and designing shows for their professional undergraduate organization, the Yale Dramatic Association.

What do you do outside of the theatre world? (Do you have any hobbies, passions that may or may not be related to the theatre? An interest we might not otherwise know about).
I love to travel!  Since I travel A LOT for my job I make it a point to explore the places I travel to.  I love to check out the random or obscure things that make a place unique.  The food, the music, the people, I try to take it all in!  Also, I am a big reader.  When I get some time off I love curling up with a good graphic novel and exploring a new world.  The last time I was designing in London, I asked some locals about the best Pie and Mash in town.  They directed me to a pub that also sold rare books!  A first edition Batman graphic novel and excellent food, double score!

Finally what are some of your upcoming projects?
I am honored to be the sound designer for The Brother Sister Plays, which is currently open and running at Portland Playhouse until May 13th.  I am currently designing Hard Times at CoHo Productions, You Belong to Me at 1 Festival, The Cherry Orchard and Ragtime with Ohio Valley Summer Theater.  I will also be teaching Sound Design workshops at Ohio University this summer.