Sound Designer
Fefu and Her Friends
Written by Maria Irene Fornés
Cal Poly Pomona - Virtual Theater
Sound Design by Melanie Falcón
Concept
Due to the COVID-19 pandemic, the Department of Theatre and New Dance moved all productions online for the Fall 2020 - Spring 2021 seasons. Fefu and Her Friends was the third fully virtual production, and it provided a unique opportunity to explore themes of feminism, societal expectations, and the struggles women face within those constraints. Set in the 1930s, when women were expected to adhere to traditional roles, the play highlights the duality within the female characters. Some of these women challenge those expectations with outspoken feminist beliefs, pushing against the norms of their time.
Our goal as a design team was to transport the audience to the 1930s as each character arrived at Fefu’s wealthy home. We aimed to showcase the different locations within her house, from the garden to the library, living room, kitchen, and bathroom, as the characters interacted with each other in these spaces. Given our limited resources, we worked closely with the actors to ensure they had the equipment they needed to bring each design element to life.
The sound design was crucial in shaping this online experience. The concept focused on creating soundscapes that both set us in the 1930s and shifted with each changing location. It also captured the women’s perspective, using music exclusively by female artists from that era. The design delved into the psyche of the characters, highlighting their strength, struggles, and fears. As the story progressed into the second and third acts, the music and ambiance transitioned into darker, more ominous tones, reflecting the breakdown of these women as societal pressures pushed them into silent madness.
The Design
In Fefu and Her Friends, Fefu and Julia stand as powerful opposing forces, each representing a different perspective to societal norms and personal freedom. Fefu is bold, outspoken, and unafraid to challenge the world around her — she felt like a trumpet in the space, cutting through silence with sharpness and fearlessness. Julia, in contrast, carried the trauma and pressure of a society that demanded submission, making her feel like a theremin — delicate and suffocated by the overwhelming presence of Fefu and the other women. Their dynamic deeply influenced my approach to the sound design. In the theme below, I aimed to capture the tension between Fefu and Julia, underscoring their final argument just before Julia is shot and killed. The piece served as a sonic motif representing the complex relationship between the two women.
For the preshow, we wanted to bridge the world of Fefu and Her Friends — set in 1935 — with the time in which María Irene Fornés wrote the play in 1977, a period marked by significant feminist change. We embraced the 1930s big band music style to set the tone, starting and ending the play with songs by female artists from that era. As the story moves into the second and third act, the music gradually shifts to modern covers of popular 1930s songs, performed by women from the 1970s, symbolizing the ongoing evolution of women’s voices and their fight for change. Before the show begins, the audience hears the voice of Kate Smith, the "First Lady of Radio," welcoming everyone to the show. It's a subtle foreshadowing of our Fefu actress stepping into the role of a radio host during intermission.
Visuals by Hanalei Vasquez
During intermission, we transformed the experience into a live radio broadcast, featuring a series of clips with our Fefu actress stepping into the role of a radio host. She introduced each song as if she were running her own show, speaking directly to the audience. This idea was inspired by Kate Smith, whose strong and commanding presence in radio felt like a natural match to Fefu’s bold and outspoken personality. It added another layer to Fefu’s world, blurring the line of reality, and offering the audience a deeper, more personal glimpse into her mind.
System Design & Technology
Due to the circumstances of the pandemic, the production was prerecorded and streamed online. All prerecorded dialogue, foley, sound effects, and music were recorded and integrated by me in post-production using Final Cut Pro, synchronizing with the final video product to fully realize the sound concept.
Paperwork
The Team
Directed by Jessica Hanna
Scenic Design: Hanalei Vasquez
Lighting Design: Dylan Cumpston
Costume Design: Janette Arellano