SPOTLIGHT: Dean Hussey

Dean says that, due to the amount of time he's spent in the sound booth, it is weird to watch a show without a mouse in his hand when he travels to other venues.

Behind every great production at The Merc Playhouse is a team of talented people working behind the scenes to bring the magic of theater to life. One of those people is Dean Hussey, who has been helping shape the sound of Merc productions for more than a decade. From running the sound booth to composing original music, Dean’s work helps audiences fully experience the stories unfolding on stage.

We recently sat down with Dean to learn more about how he first found The Merc, what goes into managing sound for live theater, and why community theater matters so much.

How did you first become connected with The Merc Playhouse?
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I started running shows in early 2014. My first show was running the sound board for the children’s production of Willy Wonka. My family and I were new to town and we were looking for a way for me to meet people and make friends.

My mom actually found the opportunity and encouraged me to try it. I was reluctant at first — it didn’t exactly sound fun and I didn’t know what it would be about — but I was convinced to give it a shot. Once I did, I liked it.

How did you transition from that first experience into working with sound?
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When I first started at The Merc, Missi Smith was in charge. She must have thought I did a good enough job because she called me for the next show. After that I just kept doing more productions and gradually became the sound operator for almost every production.

By the time I was officially hired for the position last year, I had probably run sound for 40 productions or more.

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When Dean worked Willy Wonka in 2014, the sound booth was located in the mezzanine (stage right, audience left) and the sound operator had to lean over the equipment to see as much of the stage as possible – about 1/4 of it was hidden from view. The newer location of the sound booth, in the middle of the back of the house, makes it much easier to make sound cues happen on time.

For those who may not realize how much work happens behind the scenes, what does an audio engineer do during a production?

It depends on the show, but there’s a lot that goes into it. I usually have email correspondence with the director and the technical director to figure out what sound elements the director will need.

We also go through tech meetings where the director relays their desired cues. I do cue editing, sometimes write original music, and help with setup when we have rentals. There’s also digital audio work involved — editing sound effects or songs so they fit exactly what the production needs.

There’s quite a bit of preparation that happens before audiences ever hear a single sound.

What are some of the biggest challenges of managing sound for live theater?

One of the biggest challenges is that we have to be creative with the space and equipment we have. The booth is fairly small, so we work with a compact mixer board and find inventive ways to make everything work.

Another challenge is troubleshooting. Things like microphone batteries can fail, and during tech rehearsals we often have to stop and adjust things so everything runs smoothly once the show opens. By the time opening night arrives, though, it’s usually all figured out.

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In 2019, Dean received The Merc's Steinebach Award for Outstanding Contribution to Live Theater, in part for the work he put in on his senior project — and partly for the 1,000+ other hours he logged doing volunteer hours at the theater during high school & junior high.

You’ve also composed original music for The Merc. How did that start?

Before my first show at The Merc, I already had some interest in electronic music. The Merc experience gave me the courage to start producing my own music.

I’ve been composing for about twelve years now. In high school, my senior project was creating the complete soundtrack for a production called Bike America. I’ve also written some original music for the children’s shows here at The Merc.

A lot of my experience comes into play when directors need very specific sounds or edits—sometimes that means composing something new that fits the moment perfectly.

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Dean's a flexible fellow who wears many hats. Sometimes, helping costumers by modeling costume pieces (like these flower crowns from The Nutcracker) helps him 'catch the vibe.'

When you’re creating music for a show, where do you start?

The script is always the best place to begin. From there I look at the mood of the play, the characters, and the story itself. All of those things help guide what the music or sound should feel like.

What’s one piece of equipment audiences might be surprised is so important?

Honestly… batteries.

So many things don’t work without them. If the batteries fail, microphones stop working, and that’s obviously not something you want happening during a performance.

Do you have a favorite show you’ve worked on at The Merc?

Ride the Cyclone is probably my favorite play we’ve ever put on. It was incredible working with the high school students and helping bring that show to life. It’s such a powerful piece and it was amazing to see it come together on stage.

Why do you think live theater is important for communities like ours?

Connection and expression are huge parts of it. For young people who choose to perform on stage or work backstage as stagehands or tech operators, it’s a great place to meet people who share similar interests.

That’s how I made quite a few of my friends.

Theater also brings art into the community and allows stories to be shared at a particular moment in time. It has a lot of value — not just as entertainment, but as a way for people to connect with each other.

Just for fun—if you could design sound for any show in the world, what would it be?
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Musicals are usually the most fun, so something like Wicked would be great. It’s just such a good story.
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For more than a decade, Dean Hussey has helped shape the soundscape of productions at The Merc Playhouse. Whether he’s running the booth, editing cues, or composing original music, his work ensures that every moment on stage resonates with audiences.

We’re grateful for Dean’s dedication, creativity, and the many ways he helps bring Merc productions to life.

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