2024
Espoon Teatteri, TTT, Metamorfoosi, Circo Aereo

Anatomy of a Suicide by Alice Birch is a powerful and intricately structured play that explores the intergenerational impact of mental illness and trauma on three women from the same family: Carol, her daughter Anna, and her granddaughter Bonnie. The play’s innovative format presents their stories simultaneously, with their lives unfolding onstage at the same time, emphasizing the deep interconnections between their experiences.

The text presented significant challenges for stage adaptation, as the performance simultaneously portrayed narratives from three distinct time periods. I collaborated with Maija Ruuskanen on sound design and music, and we dedicated considerable thought to how sound could enhance the clarity and coherence of the performance. To achieve this, we identified a “primary timeline” for each scene, allowing the sound to emphasize its narrative and dramaturgical arcs. However, the audible elements resonated across all timelines, so we aimed for a sonic median—an auditory tone that could unify the layers of the story.

The musical palette featured predominantly piano combined with band instruments and synthesizers. We selected the piano as the main instrument due to its familiar timbre, which resonates deeply with audiences and fosters emotional connection.

Since the play delves into the theme of depression, I also sought to create a psychological dimension within the soundscape. Central to the narrative is a family home, and inspired by Freudian interpretations of the house as a metaphor for the mind’s core, I incorporated subtle creaks and groans into key moments of the sound design. These elements emerged during scenes where the characters grappled with profound questions, adding a subconscious layer of tension.

The play’s structure resembles a series of memories, with abrupt transitions between different times and emotional tones. To navigate these shifts, I composed a “transitional wave sound” that washed away the mood of the previous scene, clearing space for a new memory to take form.

Working alongside Maija presented initial uncertainties, as it had been some time since I collaborated with another sound designer on the same project. Nevertheless, the partnership proved seamless. Originally, Maija was brought on as a composer while I focused on sound design, but our collaboration evolved into a joint effort, with shared credit for both music and sound design. Maija took the lead on composing the play’s songs, while I ensured the dramaturgical flow of the sound elements was cohesive and immersive.