As a local theater director, I have appreciation for the expertise of set designer and sound engineer Craig Kaufman. Kaufman completed the set design for “The Perfect Murder,” using CAD (computer-aided drafting) that afforded 3-D renderings in several planes, which made visualization relatively easy.

As a sound engineer, Kaufman recommended the use of QLab for sound execution. QLab is a multimedia playback cue-based software designed for Broadway theater and live entertainment. Kaufman was a whiz establishing, equalizing and modifying the numerous sound cues for “The Perfect Murder,” and “Nana’s Naughty Knickers,” be it the sound of flying mosquitoes, a crackling fire or a runway dance segment. I confer he exceeded my expectations in many ways, including his work style and work ethic which make him unique.

“It always makes me feel good when I’m hired for new work referenced by word of mouth from previous directors,” said Kaufman. “Most of the work I’ve gotten recently started with a single happy accident via a satisfied director, the rental company, a recommendation from another designer all have connected me with summer festivals and even a gig at NYU which was influential in my career.”

“Generally, the comment I get the most is that I am easy to work and collaborate with so that gives me the ability to develop sound cues that work very well within the world of the play,” he said. “Sometimes that means creating cues that stand out, but most of the time it means creating cues that blend in. The show isn’t just about sound. I do get called in for a lot of rock musicals where I mixed quite a few over the years.”

Kaufman reports that he liked doing design in college and feels it was a blessing when he wasn’t cast in any shows as it opened the door for lighting and sound design. “I graduated in 2003 with a Bachelors of Arts degree from Simpson College, Indianola, Iowa.”

Kaufman says that he is a minimalist. “I don’t like to use sound where it’s not necessary.” He enjoys creating elaborate sound cues and soundscapes reporting at times they get thinned or cut out when the show transitions to tech rehearsals. At times Kaufman has created sound-heavy shows where he is careful to complement and not distract from the context of the show.

“I make changes to my sound design during tech and preview performances, but have a pretty hard rule not changing anything once a show is open unless a justified request is proposed by the director.”

As the sound designer/engineer, Kaufman usually hands the board over to the operator with the idea that theater is live, mistakes happen and an attitude of understanding is always best. “If I’m running a show and a mistake happens, I try to recover as quickly as possible, not dwelling on mistakes to avoid the snowball effect,” he said.

“I start by reading the script, and then I meet with the director and other designers to place the play within their vision set. We share ideas and the best work comes when the action, lighting, scenery, costumes and sounds are all telling the same story which makes for a most enjoyable audience experience. The music, sound effects and the overall mix of the show have to make sense. Communication with the director and other designers is the key when I don’t have the opportunity to attend rehearsals preshow.”

This designer reports that when working in NYC he gets gently reminded when the reviewer for the New York Times is coming. “For the most part, my designs don’t get mentioned which means I did a good job. Reviewers usually only reference sound when it is bad,” he said.

I asked Kaufman to explain his most difficult show, which he cited as “Cabaret,” Engeman Theater, Long Island, where he mixed sixty channels making it the second largest mix of his career. “The expectations were great with Broadway directors and actors and the amount of finesse it took was far beyond anything I had done before or since. I couldn’t have been any happier. The result was spectacular!”

“I just finished a production of ‘Thoroughly Modern Millie’ with a design team that I have worked with several times before,” he said. “It was nice to get back to the city after doing work on the community theater level.”

Kaufman currently is employed full-time with a digital media production company in Jamestown and is looking for opportunities to satisfy his artistic side in the future. He is married to Melissa Voorhis, originally from Panama, New York. Melissa and Craig met in 2005 while contributing to a Children’s theater production and lived in NYC for a time, but, tired of fighting traffic and the aura of 9/11, they moved to Iowa and then back to the city.

Now married and expecting a child, they moved to Jamestown in 2014 because of its affordability and closeness to Melissa’s family. I would be totally amiss not to point out Melissa is an extraordinarily talented actress herself where she is so gifted and knowledgeable that she immediately grasps the blocking and director’s vision perfectly. It was my sincere pleasure to cast her in two recent productions where she integrated her character and the blocking patterns in symmetry with defined and calculated purpose for every movement. Melissa and Craig are the proud parents of two-year-old Kenna and continue to reside in the Jamestown area.

My personal thanks to Craig Kaufman for designing my shows and for sharing time with for this interview. I trust that we will continue professional and personal associations time forward.