System and Application:

Vectorworks, Protools, Logic, Ableton Live, Adobe Premiere, Final Cut Pro, Max/MSP, Wwise, Pure Data, Smaart, QLab, MAPP XT, Array Calc, Compass, AudioCore - XTA, File Maker Pro, MS Office, Unix, Windows. 


I have always been interested in the technology behind art. I'm someone that travels between the artistic and scientific worlds.

From interactive sound installations, to game design, to audience immersion - above everything else I'm a story teller. I'm constantly asking myself if what I'm creating is relevant - to what's on stage, to the observer, to the player, to the story arch. I find that relevance spawns a cohesive design. Each moment needs to tell a different part of a larger story, and the way design fits into each scene is based off the specific needs in that moment. Through working with the needs of a piece of the story, the relevance of our work becomes attached to the story, and the observer. Cohesiveness is drawn from the observers unconscious perception of relevance.

Designing sound for theater requires tracks to be event driven. The timeline of a show will never be exactly the same each night, and decisions for underscoring, shifts in ambience, transitions, and sound effects need to be able to be driven by whatever pace or direction the show is heading in that moment. While the art is story telling, technology drives the sound that tells the story.

"A work of art is good if it has arisen out of necessity." - Rainer Maria Rilke


Sound Design

Many of these sounds were made for specific environments with content designed for full range speaker systems. While they all sound great on whatever device you have, you'll hear all the nuances better with headphones.

My work has been described as "The soundtrack to our downward spiral", "Anxious", "Gritty", and "Subtextualy dark" by critics and collaborators. From stylized explosions in clown shows (see above), to underscoring for psychological comedies (see below), I find each sound I build serves to enhance the story. I design by starting with the needs of the sound, looking at genre, style, thematic elements, and most importantly the purpose the sound serves. For example in The Feast by Corey Finley, a comedic psychological drama, the protagonist starts hearing creatures coming from inside his toilet when his girlfriend comes home. I needed to create something dark, mysterious, and a bit scary for the creatures, but then change focus from the protagonist to his girlfriend. That shift of focus needs to be a bit startling, and give room for comedy, while the sound needs to dramatize these ethereal creatures. See what I built below:

Sound is pervasive. I'm the type of designer that looks for things in real life to record and manipulate to build the perfect sound. The following sample from Wide Awake Hearts uses the satisfying sound of an umbrella opening as the convolution reverb impulse response applied to the sound of a match being struck. I then reversed that sound and mixed it in with the dry sound, some delay, granular synthesis, and more convolution reverb for the tail. This sound shifts us from a moment acted live, to a moment acted in a video while the character lights his cigarette.

Every piece I do is a bit different depending on the needs of the project. 

See below for some samples from previous pieces of work:




Truth and fiction begin to blend when four friends make a movie about love, infidelity and the complexities of human interaction.


"Ephemeral and as Vaporous as this play"

-Laura Collins-Hughes, The New York Times

"The blurring of reality and performance is further augmented by lines of dialog that are repeated (multiple "takes" for the camera), the use of jarring film images... and the anxious underscoring provided by Elliot Davoren"        

 -Howard Miller, talkinbroadway




"Matt and Anna’s relationship is going swimmingly, until the sewers under their apartment open up and begin to speak. The plumber is angry, Matt’s paintings are getting stranger, and a storm is gathering. An eerie comedy about what is real, what is not and who knows."

"Scary and Original"

-Alexis Soloski, The New York Times

"Elliot Davoren's sound design is the strident soundtrack to our downward spiral."

- PJ Grisar, StageBuddy



This production of Othello directed by Tyne Rafaeli explores a world of toxic mental anguish masked by an ever present militaristic beat. Isolation is contrasted with stimulus through dance and movement.


Tracks contain samples from K'naan, The Narcicyst, Beyonce, Mc Solaar, and Blockhead


Our Town

A re-examination of an American classic, this production of Our Town draws on Columbia's diverse, international theatrical community to explore the fundamental question of the piece, and of our time: how do we define our communities, and how do we live in them?

Content Coming Soon


The Peculiar Patriot

"THE PECULIAR PATRIOT is a multimedia solo stage play that follows Betsy LaQuanda Ross, a self-proclaimed peculiar patriot, who makes regular visits to penitentiaries boosting the morale of her incarcerated friends and family.  As Betsy navigates love between barbed wire, she passionately sews a memory quilt for the urban “street soldiers and P.O.W’s” (prisoners of the war on drugs) who are serving time. But when sudden tragedy strikes, old wounds are uncorked and she’s forced to confront a hidden truth."

Jet of Blood Poster.jpg

Jet of Blood

This immersive adaptation of Antoine Artaud's Spurt of Blood shook up the night, drawing a crowd to an otherwise empty building in Orange County. 


Take a journey through the mind of Artaud, where his dreams become your nightmares


We Are The 0%

When times get tough and wallets tight, a group of plebs rally together against the wealthy aristocracy to demand economic equality. But how far are they willing to go to achieve their goals? Is the price of the battle greater than the spoils of victory? And how equitable is the sought equality? We Are The 0% explores these questions and many more as it follows two star-crossed lovers who find themselves on opposite sides of the economic divide and their struggle between love and loyalty.

“ClownMa brings it — hard — earning proper respect with We are the 0%, an uproarious, frequently touching tribute to the Occupy Wall Street movement.”

– LA Theater Critic


System Design

From a 99 seat theater to a 1200 seat arena, the heart of live sound originates from a system. I focus on building a system that's right for the content as well as the venue. I collaborate with other designers, composers, and entertainment professionals to create a system that's right for the show.




For more information about my current work, or if you'd like to collaborate, please feel free to contact me:

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