This show is a season extra, and is not part of the standard season ticket package, but season package buyers can purchased it as an add-on at a discount from the single-ticket price.

The show is running two weekends, Oct 11‐20, 2024.

*) Will is also in the new Jerry Seinfeld Netflix movie, Unfrosted, which is streaming now.

• I am designing sound for three of the remaining shows, and I'm collaborating on another, for this current 24/25 season:
  • Campaigns Inc., by Will Alan, which I am also directing (showing Oct 11-20, 2024)
  • The Woman in Black, Adapted by Stephen Mallatratt, by Susan Hill, directed by David Shough, and for whom I am collaborating on sound (showing Nov 29-Dec 15, 2024)
  • The Minutes, by Tracey Letts, which I am producing and Melissa Ertsgaard is directing (running Jan 31-Feb 16, 2025)
  • Chancers, by Robert Massey, which Marjorie Strader is directing (showing Mar 28-Apr 13, 2025)

Beavercreek Community Theatre in the 2024/2025 season.

• Just as I suspected would happen, Doug Lloyd has asked me to lend my original sound design from the DTG production of The Sugar Witch, by Nathan Sanders, which we mounted in 2010, for the BCT mounting that runs Oct 15-Nov 3. I have all the sound files still in my library, though there is no Show Cue Systems project file because we hadn't implemented it yet when DTG did the show, so I will be programming from scratch..

Dayton Playhouse in the 2024/2025 season.

• I am on board for two productions this season:
  • Almost Maine, by John Cariani, which runs Nov 15-24.
  • The Cure, by Alex Dremann, which won FutureFest 2024 earlier this summer, and gets a full production that shows March 14-23, 2025. This one will be an easy gig for two reasons: 1) the script doesn't demand an abundance or a complexity of sounds; 2) I was the sound designer for FF24 so I already have the design program file as well as the sound files. all that will be needed now is any tweaking that might come up, but the overwhelming bulk of the work is done.

1. one is a double album with much electronic, experimental, and new-age type music on it, which I recorded in the mid 1980s.
2. the other is ambient sound, which was recorded several years ago. This one has been remastered for use in the Wednesday's Child production which ran at The Guild, November 3-19, but I'll likely revisit the remastering before I decide about submitting the work for release as an album.

Meanwhile, click here for the official page for my album, Virtually Approximate Subterfuge, which released in November of 2022.

Recently I finished a short play that happens in the same universe as the play above and the novel below. I intended for it to be a ten-minute play, but it's running longer than that. At the moment I have no inclination to cut anything, or at least, not very much.

There's also my novel manuscript, started about twenty years back, which has had a finished draft for almost as long. And, again, is in the same universe as the plays mentioned above, but takes place earlier than either; in one case, over four decades earlier. I haven't actively worked on it in years, barely at all since I came back to theatre. I am trying to gear myself up to go back in for some revision and polishing.