Theatre Design & Technology - Winter 2009 - 62

book

reviews
arnold wengrow

editor

The Sound of Theatre
By David Collison; Eastbourne [England]: PLASA (Professional
Lighting and Sound Association), 2008. 280 pp. Cloth, $49.99.
Reviewed by John Bracewell
British sound designer and consultant David Collison became known to
the U.S. theatre community at large
through his 1976 book Stage Sound
and his subsequent tour, sponsored
by USITT, of American colleges and
universities. Collison began his work
in theatre in the mid 1950s as an assistant stage manager. In that capacity
he was directed to operate the Panatrope, the British name for a sound
table featuring (usually) two 78 rpm
turntables, each fitted with two tone
arms apiece, cuing devices for each
tone arm and a volume control for each tone arm. Collison
proved to be an excellent Panatrope operator, where he stayed
for a great many productions. Eventually he went into full-time
work in theatre sound.
Stage Sound was a small book which presented short but
precise chapters detailing the functions of each category of audio equipment and explaining the process of sound preparation
and rehearsal. Collison's latest book, The Sound of Theatre:
From the Ancient Greeks to the Modern Digital Age, is a much
larger effort. It summarizes the history of the use of sound in theatrical production, from a synopsis of what is known of sound
and voice control in classical Greece and Rome, through the development of Western theatre in Europe, to thorough coverage
of sound practices in London's West End and on Broadway.

History and anecdotes
Collison divides the book into three sections: first, a history of
the early development of theatre sound; second, an annotated,
chronological list of key inventions in the development of audio; and third, an extensive recounting of the rise of sound recording and amplification as applied to theatrical production.
His research seems quite thorough, especially in the sections
that required personal interviews with principals of the theatre
sound industry. He sprinkles the book liberally with anecdotes
from his own career as a major player in sound design in the
U.K. Because he's British and has worked mostly in London, the

60

theatre

design

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technology

W I N T E R

2009

book contains more information about the development of professional sound design there than about the industry centered
on Broadway. However, his discussion of the sound profession
in New York gives a history that is quite complete and that has
been presented in no other text, to my knowledge.
Part One, Mechanical Sound Effects, summarizes what is
known about the ways in which effects were created prior to
electrical recording and reproduction of sound. This section
includes a number of interesting photographs of machines now
housed in museums. Collison uses contemporary paintings and
illustrations to show these devices in the context of the theatres
that used them. All in all, the first section of the book comprises
a very valuable compendium of developments in the early history of sound as an adjunct of dramatic production. Collison
provides some of the best description and explanation available
in any text of the use of devices such as thunder runs, thunder
wheels, rain drums, glass crashes and the like.
Part Two, the Chronology of Key Inventions, gives dates
and descriptions of events and discoveries in the evolution of
the use of electricity for recording and reproduction of sound.
Coverage ranges from the first attempts to capture sound on a
solid medium to the digital sound technology available at the
end of the twentieth century. As in the first part, this section
includes a number of interesting drawings and photographs
showing early experiments in recording speech and music, of
equipment as it developed through the years, and of the people
responsible for those developments.

Art and technology
Part Three, Sound Recording and Amplification, is the largest
part of the text. Collison gives a comprehensive history of the
growth of sound as a major art and technology of theatre, beginning from the early attempts to replay sounds from 78 rpm
phonograph discs all the way to current usage of computers
and digital sound recorders. This section of the book contains
some of the most interesting and personalized examples of the
problems faced by the pioneers of audio in dramatic production and live reinforcement. In order to describe developments
both in London's West End and on Broadway, Collison interviewed the major names in the business on both sides of the
Atlantic, designers and principals of the rental houses alike.
This history has a very human character, further extended by
the author's recall of significant developments as he witnessed
them during his career.
Collison ends the book on a very personal note with
a chapter relating incidents both humorous and sometimes



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2009

Contents
Theatre Design & Technology - Winter 2009 - 1
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