BEYOND THE BOARD: ALUM GAGE BAKER’S JOURNEY IN SOUND DESIGN

From backstage beginnings to national stages, Gage Baker (’21) has carved a unique path in the world of sound design. Hailing from Lake Jackson, Texas, Gage chose the Kathrine G. McGovern College of the Arts for its strong ties to Houston’s vibrant theatre scene—particularly the renowned Alley Theatre. Since graduating with a degree in Theatre, he’s gone on to freelance across the country, mixing sound for everything from musical theatre awards shows to performances with the Blue Man Group. Most recently, he and foley artist Peter DiMaggio were nominated for an Elliot Norton Award for Outstanding Sound Design (Midsize or Small Theater) for their work on The SpongeBob Musical at Wheelock Family Theatre, as reported by The Boston Globe and Boston University. Gage’s journey is a testament to the power of collaboration, creativity, and staying hungry for growth.

Why did you choose the Kathrine G. McGovern College of the Arts? What drew you to the arts?

I’ve always admired the work at Houston’s Alley Theatre, and the relationship between UH and the Alley was what initially drew me to UH’s School of Theatre & Dance.

Looking back on your time at UH, what experiences or relationships most shaped your artistic voice?

One of the unique strengths of UH’s theatre program is its rare offering of both acting and design MFA programs. My greatest influences were the graduate students—their imagination and creative energy pushed me to stay hungry in my own work. A standout memory was collaborating with the brilliant multi-hyphenate Afsaneh Aayani, now a frequent professional collaborator. Our first major project together was The Fairytale Lives of Russian Girls by Meg Miroshnik. The design team was firing on all cylinders, leading the creative process in a way I hadn’t experienced before.

Tell us about a typical day in your job. Do you have a particular philosophy around art and creating?

The joy of freelancing is that no two days look the same. Every production presents a new set of creative puzzles. This month alone, I’m working on Hello, Dolly! in Boston, a musical theatre awards show in Charlotte, NC (with a 19-piece orchestra!), a massive variety show at the Wang Theatre—one of the largest in the world—and mixing sound for 12 performances of Blue Man Group. To quote a mentor, “Show business isn’t a job; it’s a
lifestyle!”

Who were the most influential professors or mentors you encountered, and how did they impact your education and career?

Many of my most influential mentors were the graduate students I worked alongside—they set the bar high.
And my professors gave me the tools and support to start shifting from technical roles to design-focused work.

What is one career accomplishment of which you are particularly proud of? How do you feel your College education prepared you for this?

My college experiences, both in undergrad at UH, and during grad school at Boston University, gave me the support to begin transitioning from technician roles into design work. I started as a stagehand at a community college theatre in 2015. A decade later and I’m finally making most of my income as a designer. I’m also a proud member of IATSE United Scenic Artists Local 829, the national union representing theatrical designers.

What is one valuable lesson you learned during your time as a student at the School of Theatre & Dance?

When talking to prospective design students, I always recommend entering any program with a clear list of educational outcomes. No school can teach you everything—you must learn to prioritize. Knowing how to allocate your time and energy effectively is essential in building a sustainable career in the arts.

Do you have a manifesto? if so, how does it influence your life and work?

Theatre is a people business. Treat your team well, include them in your vision, and empower them to bring their talents to the table. My design philosophy is simple: connect the actors to the audience! If anything I do distracts from that connection, it gets modified or cut.

How has your industry changed since you started, and what trends do you see emerging?

Financial realities have made many small and mid-sized theatres more risk-averse, programming “safe” seasons in hopes of staying solvent. As theatre makers, it’s our job to find ways to make each show resonate with the world our audience lives in now.

What advice would you give to new graduates entering your field?

Start working outside of school before you graduate. Use your time at UH to build relationships and find opportunities that allow you to exercise your creativity beyond the academic environment. That early network will be invaluable!

What legacy do you hope to leave?

I don’t believe in legacy. Theatre is inherently transient. No show runs forever, and within a generation or two, every memory will be forgotten. Our responsibility is to show up each day and reflect the world onstage with an immediacy no other artistic medium can match.

How can alumni or current students connect with you or follow your work?

You can visit my website at www.gagebaker.com or find me on social media @backstagegage.

What final piece of advice would you offer to anyone reading your spotlight?

Go see live theatre!