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un 250 feet of cables underground, make
sound panels, monitor the theater for sound
“dead-zones” and make the appropriate
corrections, all with very little labor.
“All of the other technicians were so busy
with their own areas that they could not
help, so I didn’t go home for two weeks; I
slept in the theater,” added Kil.
Her effort and attention to detail paid
off. The reopening of Mitchell Hall, featuring
the musical “High Society,” was a rousing
success with a near sell-out crowd every
night. Almost immediately, theatergoers
noticed the enhanced sound quality.
Dr. Larry and Leah Westmoreland,
who are friends and donors of the College
of Fine Arts and Design, think that “the
greatly improved sound system in Mitchell
Hall is wonderful! Not only is the sound
clear throughout the whole dynamic range,
but the balance between singers and
instruments creates a total sound package.”
UCO music theatre graduate student,
Jay Krottinger, raves that “the updated
acoustic and electrical architecture in
Mitchell Hall, and the addition of Sun Hee
and her sound engineering expertise, has
immensely enhanced the quality of the
theatrical experience.”
What is perhaps most rewarding to Kil
are those plays and musicals that have
specific sound challenges. In the 2010
Theatre Arts production of “Noises Off,” she
had to figure out how to balance the variety
of backstage sounds that are so vital to the
comedy with the actor’s dialogue and the
other onstage sounds.
“After I read the script, I was thrilled
with the challenge of incorporating
8 Impressions 2010|2011
The spring 2010 production of “Noises Off” presented unique sound
challenges that Kil tackled by using five speakers placed in three
different directions.