When it comes to live theater, the visual spectacle is an undisputedly important component. But not everything happening on stage is about what the audiences see — so much of it is about what they hear.

More than just making sure the actors’ microphones are on and off at the right times — though that is, of course, a vital element — the sound department at Tuacahn is in charge of mixing and balancing all the auditory pieces, projecting them in way that is pleasing to the ear. It’s a process that is far more complex than many people realize.

“Audio is a living, breathing department,” says Stephen Simpson, audio lead for Tuacahn. “There are so many things that affect what we do.”

For example, if an actor is feeling a little off, or not singing and projecting as loud as they usually do, the person at the mixing board has to be prepared to account for that. In addition, outdoor elements, including wind, humidity, and temperature, affect the sound waves. So, in a space like the Outdoor Tuacahn Amphitheatre, those variables are different every night.

For Simpson, mixing the sound for the musicals is how he was introduced to his job at Tuacahn. He was originally brought in to work as an audio person for the Indoor Hafen Theatre in 2022. He worked with Buddy: The Buddy Holly Musical and was scheduled to come back to work on Rudolph the Red-Nosed Reindeer. However, some personnel changes left an opening in the sound department for the Outdoor Amphitheatre and Simpson was thrilled to jump in, covering both theaters for the rest of the season.

“I got to mix the very last David Archuleta performance for Joseph and the Amazing Technicolor Dreamcoatlast year,” Simpson says. “I really enjoy mixing the shows because it changes every night. There are definitely times you feel like you really nailed it and it’s such a euphoric feeling.”

Now he oversees the audio department, working on pre-emptive sound setup with the sound designer, as well as providing in-depth maintenance on the sound equipment during the off season, like purchasing new mic packs for the actors this year, and upgrading the wireless packs and headsets used by the stage manager to communicate with the technicians during the shows.

“Most of our lead actors have two mics on, that way if one goes down during the scene, we can instantly switch to the other one,” Simpson says.

Off stage, there are two audio technicians standing by to assist in any microphone issues, from “sweat outs” to dead batteries, to broken antennas.

“Anything can happen in live theater,” Simpson says.

Also backstage, there is a monitor engineer, or “A2”, who sits in a room on the side of the stage listening to all the microphones through a computer.

“Their job is to keep track of when each person is on stage so before they go on stage the A2 can listen to their mic and see if we can hear them,” Simpson says.

Simpson also plays a big part in the design and execution of sound effects during the musicals, such as making sure the timing of the audio, video and lighting components are in sync to make an earthquake in Wonderland appear realistic.

“It’s an artform and a science,” Simpson says of the work he and his team provide. “There is a lot of science and math used to determine which frequencies will bring out certain instruments in the pit orchestra, for example. But there is also a lot of art and design principles that go into how the overall project sounds.”

It’s a part of theater that, although unseen, is definitely noticeable if not executed well.

“If a lighting cue is a half a second too late, or if someone goes on stage without one costume detail in place, people tend to be forgiving, or they may not even notice, but with audio, if someone’s mic isn’t on, everyone can hear it… or can’t hear it,” Simpson says. “If we’re doing our job right, the audience won’t notice us.”

It’s a truth that carries across the board, regardless of whether someone is enjoying a production in the Indoor Hafen Theatre, or in the Outdoor Amphitheatre. But from the sound department perspective, the two spaces are very different animals.

“I like different things about each of the theaters we run,” Simpson says. “In many ways the Hafen is easier because we’re not dealing with the outdoor elements, and there are generally fewer microphones in that space. However, for shows like Buddy Holly and Million Dollar Quartet, there was a live band on stage, which is a whole different thing in and of itself.”

Although both venues have a live orchestra, Simpson says that mixing for the orchestra in the Outdoor Amphitheatre is different than a live band on stage that is performing something more like a rock concert.

“Sometimes they get really into it and kind of noodle around a bit, and I have to be ready for it,” he says.

Simpson’s pre-audio background as a dancer gives him some insight into how the performers are feeling as they prepare to go on stage. In many ways, he still feels the same excitement when he settles in behind the mixing board to run the show on opening night.

“I still get those butterflies, the nerves and excitement,” he says. “It’s one of the things I enjoy.”

The other thing he loves is working with a team and seeing how all of their efforts help make the show successful.

“Theater is such a group effort,” he says. “It’s one of the most satisfying things to see a show come together.”

This summer, join Simpson and his team in reveling in the success of five amazing productions, including Roald Dahl’s Charlie and the Chocolate Factory, Tarzan and The Hunchback of Notre Dame in the Outdoor Amphitheatre, along with Beautiful: The Carole King Musical, and later, White Christmas in the Indoor Hafen Theatre. For details and tickets, log onto www.tuacahn.org