CJ McGillivray has a passion for immersive sound design and sensory audio experiences that subtly complement the drama unfolding on stage. Recent sound design credits include Marrow (Alley Theatre and Resounding Scream Theatre), Concord Floral (Douglas College Theatre Department), Generation Post Script and Frankenstein 1945 (Nebula Theatre), The Fitting Room (Vino Bueno Productions) Any Night and The Drowning Girls (Stone’s Throw Productions), Fool for Love (Clockwork Theatre) and Antigone (Theatre Pandora). Her original musical compositions were featured in We Three, Good Day and Good Night and On My Walk (Carousel Theatre for Young People), for which she received her first Jessie Richardson Theatre Awards nomination for Outstanding Artistic Creation, Composer.
For a detailed summary of her sound design experience alongside other production roles in both theatre and film, please refer to her Production Resume.
SOUND DESIGN SAMPLES
Facility Soundscape from Civilized with Alley Theatre and The Necessary Stage; sound design by CJ McGillivray using royalty free textures and a voice generator software:
Closing Soundscape from Marrow with Alley Theatre and Resounding Scream Theatre; sound design by CJ McGillivray using royalty free textures and sampled music from The Temper Trap:
Debussy and Hawkings from Civilized with Alley Theatre and The Necessary Stage; sound design by CJ McGillivray using sampled music from Claude Debussy, a sampled recording of Stephen Hawking and a morse code generator:
Social Media Soundscape from Concord Floral with the Douglas College Theatre Department; sound design by CJ McGillivray using sampled notifications:
Seizure Soundscape from Concord Floral with the Douglas College Theatre Department; sound design by CJ McGillivray using royalty free textures and sampled music from The Zolas and Jon Hopkins:
Sweet Dreams Mash Up from Any Night with Stone’s Throw Productions; sound design by CJ McGillivray using sampled music from Eurythmics, Marilyn Manson and Holly Henry:
She went above and beyond what I expected, spent countless hours at rehearsals and tech runs, and elevated the show to a level I could not have forseen. She brings an exceptional work ethic, a genuine warmth, and a talented and experienced perspective to every project she works on. I cannot recommend her enough.
– Keara Barnes, playwright and performer of TravelTheatrics
What I look for in a sound designer is someone who has their own process in terms of understanding the piece and making offers, but who also has the ability to listen to a vision and thereby contribute to a shared one – CJ certainly embodied both sides of this. What I appreciated most deeply was the combination of her own instincts and initiatives and her ability to listen with her whole body, mind and heart to my vision and to understand the foundation of my questions. I was grateful for her ability to develop our conceptual conversations into concrete sounds with ingenuity, flexibility and beauty.
– Ulla Laidlaw, Director for The Drowning Girls
She had a clear vision and brought material and fresh ideas to the first meeting. I found her eager and committed to the project, always bringing a plethora of new offerings each time we met. In rehearsals, she was knowledgeable, flexible, and hardworking. Her final product complemented the piece beautifully, both fulfilling the script’s direction and adding to it. She is both sensitive to the needs of a project and bold in bringing a new perspective.
– Kim Larson, Producer for The Drowning Girls