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Nick Hernandez, who designed the sound for Long Way Down, says sound is the “glue” that brings together the physical world that a play's characters live in and the emotions they feel. 

In theater, a sound designer creates the audio of the play, which includes everything you hear on stage: from amplifying or modifying the actors’ voices with microphones to adding sound effects, background noise, and music. 

In Long Way Down, the sound design involved everything from evoking the feeling of being inside an elevator and creating the realistic sound of a gunshot a few blocks away, to composing new music that evoked the tensions and emotions of the characters in the story.

Listen for…

• Strategies for creating the feeling of being in the small space of an elevator.
• Sounds that are intended to represent emotions.
• The ways other theatrical elements like acting, projections, or lighting design influenced Nick’s sound design for Long Way Down.

Think about…

• Nick calls sound design “the silent player” and “the extra actor.” How does he describe the way sound interacts with the actors to tell a story? Why do you think he refers to sound design as another actor in a play?
• Close your eyes and listen to the sounds in the space around you. Do you hear cars driving by? Music playing? The hum of lights? What do these sounds tell you about the space you’re in? How might you describe this space to someone using only sound?

“Elevator Hesitation”

Tim, the director, wanted high energy at the top of the show, which helps convey Will’s anxiety or hesitation to push the elevator button.

Listen: “Elevator Hesitation”

“The Name is Will”

A simplistic track that offers texture while Will delivers his opening monologue.

Listen: “The Name is Will”

“Buck’s Theme”

90’s Hip Hop-influenced track which represents the edge/grittiness of his personal journey.

Listen: “Buck Theme”

“A Girl Stepped In”

Sweet, light keys & synths meant to cut through the tense elevator environment as “a girl steps in.”

Listen: “A Girl Stepped In”

“I Kissed You”

Youthfulness/playful chimes & chord progressions meant to create innocence & love.

Listen: “I Kissed You”

“Fifth Floor Smoke”

A composition that felt like it was slowly filling up the space (elevator); ethereal & moody.

Listen: “Fifth Floor Smoke”

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Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education.

Gifts and grants to educational programs at the Kennedy Center are provided by The Paul M. Angell Family Foundation; Bank of America; Capital One; The Morris and Gwendolyn Cafritz Foundation; Carnegie Corporation of New York; The Ednah Root Foundation; Harman Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The Kiplinger Foundation; Laird Norton Family Foundation; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; The Markow Totevy Foundation; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation; Myra and Leura Younker Endowment Fund; The Irene Pollin Audience Development and Community Engagement Initiatives;

Prince Charitable Trusts; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Jackie Washington; GRoW @ Annenberg and Gregory Annenberg Weingarten and Family; Wells Fargo; and generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Additional support is provided by the National Committee for the Performing Arts..

The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.