Ten years ago, Kai Harada was working as an associate to designer Tony Meola on such projects as Man of La Mancha and Sweet Smell of Success; Wicked had not yet been discussed. He was also moonlighting as a writer for Entertainment Design magazine, the predecessor to Live Design. One of his favorite pieces that he wrote for the magazine discussed acoustical enhancement systems as they applied to opera sound, and this piqued an interest to play with the
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