A well-deserved Special Tony Award goes to sound designer Abe Jacob at this year's ceremony in New York City on June 16, 2024. As reported in Live Design, Godfather Of Sound, Abe Jacob, To Be Honored With 2024 Special Tony Award, Jacob basically invented the discipline but pre-dated the existence of a Tony for sound design (another topic of interest to be sure). Live Design worked closely with Jacob for many years as he serves as creative consultant for the Broadway Sound Master Classes, produced by Live Design from 2002 through 2014 in New York City, promoting the art and craft of sound design.
Today the tables are turned and we put Abe Jacob in the spotlight:
Live Design: What experience or observation led you to become involved in your discipline?
Abe Jacob: As a child, I was fortunate to immerse myself in Tucson's vibrant theater scene, participating in numerous local productions and even landing roles as an extra in a couple of Western films shot in the area. While my involvement in theater began at a young age, I eventually outgrew performing. Although I dabbled in piano lessons, my reluctance to practice prevented me from excelling. Despite this, these early experiences ignited a passion for the performing arts, particularly in sound design, which became my avenue for continued involvement.
LD: What do you know now that you wish you'd known at the beginning of your career?
AJ: I wish I’d known more about the business end.
LD: What is your proudest professional accomplishment?
AJ: I’m extremely proud to have been instrumental in introducing sound design as part of a theatrical production’s creative team and to mentor the many designers working today, and hope that I have helped to inspire them all along the way.
LD: What future developments do you see happening in theatre design that you are excited about?
AJ: The future of theater design holds exciting possibilities, driven by advancements in technology, innovation, evolving audience preferences, and sustainability initiatives.
Overall, the future of theater design will require commitment to creating memorable and inclusive experiences for audiences around the world.
LD: Is there a funny story or anecdote from over the years you'd like to share?
AJ: In 1969, I had just returned from Australia where I had been touring with Peter, Paul and Mary and was showing Jimi Hendrix some of the opals I brought back. He swallowed one, thinking it was a new psychedelic!
LD: We always say you invented the role of sound designer — how did that role evolve along with the technology since the early days of concert and theatrical sound ?
AJ: When I was asked to re-work the sound for the original HAIR on Broadway, at the time the ‘sound operator’ was backstage at a small board. Thanks to my rock and roll influences and touring, I moved everything into the house, including the operator. From then on, sound mixed from the front of house became the norm.
The role of the theater sound designer emerged gradually over time, with contributions from various individuals and developments in theatrical technology. Not long after HAIR, we added foot mikes, for example, for Jesus Christ Superstar, Pippin', A Chorus Line, etc. And then, eventually, radio mics became more widespread. Today everyone in the cast has a wireless mic.
Luckily, I was in the right place at the right time and had the experience. While it's difficult to attribute the invention of the position to me, I’m grateful to have played such a significant role in shaping the field of theater sound design and revolutionizing the use of sound in theaters by incorporating rock music and innovative sound reinforcement techniques.
