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transcription of the interview with Shannon Zura.
Shannon Zura
Talk about a Jack of-all-trades! Before settling down as a lighting and sound designer in Philadelphia six years ago, Shannon Zura spent 10 years working in almost every aspect of theater. She is currently a master electrician and resident sound designer at Delaware Theatre Company and resident lighting designer at Theatre Catalyst. She designed lights for Azuka Theatre Collective, Vagabond, Theater Rumpus, Brat Productions and Eternal Spiral Project and was nominated for a Barrymore Award for her sound design for Talley's Folly at the Delaware Theatre Company. Zura Received her MFA from Temple University.
HOW DID YOU FIRST GET INVOLVED IN THE THEATER?
I began my undergraduate career with a major in computers and took a class called "Intro to Theater." My professor at the time encouraged his students to get involved in the practice of theater outside the classroom and I did. While I continued my studies in coputers, I changed my major to theater simply based on the fact that i was closer to finishing a degree in theater than I was in computers. I explored and practiced every area of theater I could. I acted, directed, designed, ushered-anything I could do to be involved. After time, I discovered that I was more drawn to the technical side of theater. Consequently, I devoted increasingly more energy to lighting, sound and stage management.
WHAT WAS YOUR FIRST BIG BREAK?
I'm not sure I have had my first big break yet, although I do enjoy a successful career. I have made my living solely on theater work for the past few years. I suppose I initially thought my big break came when I began work in regional theaters in Philadlephia. The nature and frequency of these types of projects enable me to make enough money so that I no longer had to rely on work ouside of theater for my income. Shortly thereafter I went back to school and received my MFA in lighting design. I don't think about success in terms of how "big" one is; I evaluate success on a show-by-show basis, looking to how gratified I feel when I have completed work on a show and how I feel I have grown as an artist.
WHEN DID YOU REALIZE YOU MADE THE RIGHT CAREER DECISION?
About 10 years ago when I left my undergraduate studies for a year to do an apprenticeship at the Arden Theatre Company in Philadelphia. While still an undergraduate, I decided that I should get some real experience to make sure that I truly had a passion for this business. I had a wonderful experience, and engaged in every facet of theater you can possibly imagine. It was hard work and a lot of hours, but I loved every minute of it. I was never deferred by the obstacles I encountered and I couldn't get enough of the shows. My enthusiasm for theater grew and grew. That year confirmed for me that working in theater, in any capacity, is what I wanted to do.
WHAT HAS BEEN YOUR GREATEST CHALLENGE SO FAR?
The biggest one to date has been balancing a schedule that enables me to pursue projects (set design, lighting design, etc) outside of my full-time job as a master electrician and resident sound designer at Delaware Theatre Company and resident lighting designer at Theatre Catalyst.
WHAT'S YOUR CURRENT PROJECT?
I have a few exciting projects coming up. I am designing sound for Drawer Boy and Mitch Albom's Tuesdays with Morrie at Delaware Theatre Company, and The Beauty inside at Interact. The Beauty Inside is a co-production with New Georges in New York City.
ANY ADVICE FOR THOSE JUST STARTING OUT?
My advice to those starting out in any theater profession is to volunteer as much as they can to secure the broadest range of experiences possible, and to maintain a good attitude. A willingness to learn and a respect for the work of others will take new theater practitioners far.