portfolio

please click on images for links to material.

Jugger at Berkeley + California Jugger Association

President of both the Berkeley Jugger Club and the California-Wide association.
More information available on the respective tab, but an overall focus on management on both short-scale 150+ person events alongside long term organization sustainability.
Lysistrata

January 2025 - March 2025

Worked as assistant sound designer to Ray Archie on a TDPS production of Lysistrata.
Worked on composing music for the show, alongside cue organization in QLab, and running mixing and volume levels for all dress rehearsals. Additionally did work with the Lead Sound Designer helping organize recording spaces and microphone setups.

The overall vision of the performance was a feminist futuristic depiction of the play taking place in a nightclub. A majority of the sound design was focused around futuristic nightclub music for heightened moments of action. I wrote 4 pieces for the performance.

The most significant skills I took from this project were;
- Working on sound design in a professional setting and how the workflow develops.
- Learning directly under professional sound designers and understanding how to work in this enviroment.
- Running mastering and mixing of audio for a physical space.
Macbeth

January 2025 - March 2025
Worked as lead sound designer to Barestage's Production of 'Macbeth'. Worked with a team of 2 assistant sound designers.
Taught the assistant sound designers how to build soundscapes in Audacity, run QLab, and work mastering of the sound in the recording space. Organized the central vision of the audio would function throughout the performance and built complex soundscapes and music for the play. Set up cue system.

The overall vision of the performance was to capture an expressionist depiction of Macbeth. I predominantly worked on the soundscapes for the Witch scenes and the 'madness' focuses of the play. I wanted to use geiger counters and various LFO-heavy synths at the time to evoke continual feelings of spiralling and desperation.

The most significant skills I took from this project were;
- Learning how to spearhead management of sound design on a wider project.
- Quickly familiarising myself to the equipment and hardware setup of a given theatre or space and being able to navigate it efficiently.
- How to teach being a sound designer to people less familar with the domain. Assigning work to assistants without overwhelming them and having them support a wider vision of the audio.
STINKJAW: PART ONE

September 2024 - December 2024

Written, Directed, and Produced a two-act play titled 'STINKJAW: PART ONE'. Organized and recruited five actors, an admin team, social media team, a puppet design team, assistant directors, choreographers, and costume team, and ran the performance from initial rehearsals to two nights of performance, with around 200 people attending across the two nights, alongside ~$200 of profit from a merch stand. I also wrote a series of short songs and organized occasional sound effects for the performance.

The play was centrally about a small community in rural upstate New York, and a group of monsters that prey on the families. I wanted to capture how the different characters tried to make sense of a world that did not provide a clear meaning.
Later subtitled and edited the entire performance online.

The most significant skills I took from this project were;

- Learning to work with other people. All previous projects were predominantly solo work or had me directly at the helm. Delegating work to a large group of people to help achieve the scale of this project was a sharp learning curve.
- Learning to run consistent social media campaigns and advertising + on-campus flyering.
- Project improvisation. Learning to adapt to physical, financial, and social constraints to see a project through to completion.
Parasite Words

September 2024 - October 2024

Worked as the lead sound technician for a student workshop. Performed live music onstage for the 40 minute performance runtime.
Performed with an Ableton Push 3 and Keyboard hooked up to my computer. Worked with the director to build an ever-changing soundscape to accompany the piece.

Was given different instructions and tasks for each scene. Settled on a group of synths with a couple dozen parameters hooked up to change the intensity, tone and intention of a scene dynamically. Continually performed throughout the piece onstage.
Horsetail

July 2024

Podcast recorded through The Daily Californian. Interviewed a botanist at the UCB Bontanical Gardens and accompanied with music.
THE STAR DRIVEN EXPULSION OF COUNT LASTNAME

January 2024 - May 2024

A two part audio drama written and directed by Taino Marotto Spain. Wrote the ~10,000 page script and 4/5 different songs of differing genres. Produced and edited in Audacity + FL Studio. Worked with a dozen actors, and 2 other musicians.

The audio drama was focused on a Las Vegas casino during the end of the world, and a grifter who learns to want to keep living. I wanted to make something fun and action-focused, and learn how to score music to action.

The most significant skills I took from this project were;
- Composing music and audio for action scenes and understanding how to sync action to sound. See this link for elaboration on how I split up the scenes into choreograpble diagrams.
- Organizing musicians and actors towards working at a common goal.
- Heavy understanding of how sound and music apply context to a scene and how this can be used for dramatic effect.
- Setting a long-term project to a strict timeline and achieving significant milestones in a timely manner.
I Don't! I Don't! I Don't Hate It! I Don't Hate It!

March 2023 - July 2023

EP written at 17. Piano and Singing. Recording done with Brighton College. I had very little musical experience at the time and this was my first major foray into working with music.
The Railway

March 2022 - December 2022

Audio Drama written for my EPQ project at Brighton College. First major time working with audacity, and audio-based mediums in general. Worked with 3 other actors.

The audio drama was about a soldier who discovered a railway that keeps going forever. It was about how running away from something is not the same as getting over it. I wanted to understand how to balance narrative and descriptive scenes alongside dialogue-heavy scenes in an audio format, and how different styles could convey different meanings to an audience.

jugger

Jugger is a five-a-side team sport originating in Germany based around using pompfen (foam weaponry) to score a ball into the opponents goal.

I started playing in late 2023 and have been heavily ingrained in the sport both nationally and internationally since.

Organization Leadership

Current president of Jugger at Berkeley as of May 2025.
Jugger at Berkeley is a UC Berkeley sponsored club that facilitates the sport of Jugger on campus. It is currently one of the largest of its kind in the world, with between 25-35 people attending practices weekly.
- Run weekly admin meetings with 7-12 other officers. Lead conversation and keep meetings on schedule.
- Ran 3+ events a week for anywhere between 5 and 30 people, facilitating playing the sport and running warmups and drills, providing supplies, delegating people to run parts of practice, and keeping events on schedule.

- Help with problem-solving and making ends meet in the club, not limited to but including; organizing and helping new equipment be built, support and send financial reimbursement requests, spearhead multiple week recruitment campaigns, write club documentation and database infastructure, and organizing travel to and from national and international tournaments (see more under Team Leadership.)

Current president of the California Jugger Association (CAJA) as of June 2025.
CAJA is the managing body that the 8 jugger clubs in California function under. It runs Californian tournaments and our monthly league, alongside dealing with conduct cases, finances for large-scale equipment orders, and outreach.
- Helped organize the infastructure behind the various roles around voting, volunteer work, and club recognition.
- Helped mantain the organization meeting the work expected and accomplished as mentioned above through enforcement of deadlines and setting up plans to work forward.
- Currently helping make the transition to turn the organization into a 501(c) nonprofit.

Tournament Management

Have currently organized three tournaments; Fog of War 2025, Fog of War 2026, and High Seas Open 2026. Two in the Bay Area and one at Long Beach.
These are two day long events that host from roughly 8am-6pm each day, with 100-160 people in attendance.
Working with these tournaments has included;
- Building brackets and seeding for up to 20 teams to play 11-12 games over a two day tournament.
- Organizing schedules for games, breaks and side events, and helping keep events run on time.
- Equipment management for up to 5 fields worth of events, sourcing, transporting and organzing.
- Spreading information on rules, equipment requirements, logistics, signups, etc. In a timely and presentable manner.

Team Leadership and Competition

As of October 2026, I have been to 18 tournaments (9 unique locations), and captained for 8 of them.
I have travelled to almost all of them with Berkeley's flagship team, Ursae Majoris, and frequently work out the logistics for getting to events.
This includes;
- Finding the cheapest flights to get to events, and booking airbnbs to host the club.
- Encouraging players to come to tournaments and supporting them logistically to travel to events.
- Hosting pre-tournament discussions and expectation meetings to help a team be prepared for the event.
- Running logistics day-of, such as having people leave locations at a timely manner, be on track of event schedule, tranporting people and equipment, debriefing and checking in during events, and organizing strategy within games.