School for Scandal was not the most challenging design, however it was one where I got to put my composition cap on. Featuring music of the period for scene changes and a way to set the mood, I was able to think like a composer in developing the auditory emotions of the show. Even though it was a straight play, because it was staged in the main proscenium, this required all actors be individually reinforced. For a classic piece such as this, it required a working relationship with the A1 to make sure the actors were heard but everything still sounded like the natural voice.