SOUND HOUSE is inspired by the haunted and often funny sound worlds of idiosyncratic 20th century British composer Daphne Oram, inventor of Oramics, a precursor to the synthesizer. This multi-strand sound-generating machine serves as a structural model for an architectonic play in which disparate eras, worlds and time signatures collide as Daphne’s present-day alter ego, Constance Sneed, investigates the condition of invisibility that plagues her, too, and envisions a world in which old ladies do not die alone or forgotten.

The collaborators have developed the play not only as text but as a “multidimensional object” — precisely constructed yet constantly shifting — in which sound not only carves out story, but functions as an experiential road map to the distortions of time and space that are central to Oram’s ideas. Their mission: create a true “sound house,” an immersive sonic experience.

The cast for SOUND HOUSE will feature Vicky Finney Crouch (Piper Theatre Productions), James Himelsbach (The Talking Band’s The Room Sings at LaMama; The Assembly’s I Will Look Forward to This Later at The New Ohio), and Susanna Stahlmann (Hedda Gabler with Wandering Bark Theatre). The design team will include Sound Design by Tyler Kieffer and Brandon Wolcott (Signature Plays at Signature Theatre Company; The Profane at Playwrights Horizons), Set Design by Marsha Ginsberg (Master at The Foundry Theater; Angel Reapers with Signature Theater), Costume Design by Olivera Gajic (God’s Ear with New Georges/Vineyard Theater; This Was the End at The Chocolate Factory), Lighting Design by Kate McGee (The Hunger Artist at The Tank; My Lingerie Play at Rattlestick Playwrights Theater), and Movement by Brendan Spieth (Those Lost Boys: 10 Year Reunion at Ars Nova).

Performances will be Tuesday, February 20 at 8pm, Wednesday, February 21 at 7pm, Saturday, February 24 at 2pm & 7pm, Sunday, February 25 at 2pm, Thursday, March 1 at 7pm, Friday, March 2 at 3pm, Saturday, March 3 at 7pm, and Sunday, March 4 at 2pm.