ABOUT

Barry G. Funderburg is a Chicagoland-based designer, composer, musician & engineer.  His work has been featured in Chicago at Steppenwolf Theatre Company, Mercury Theater, Writers Theatre, Lookingglass Theatre Company, Next Theatre Company, Theatre at the Center, and Oak Park Festival Theatre, as well as Northwestern, Loyola, and DePaul Universities.  Off-Broadway, he designed the critically-acclaimed New York premiere of Wittenberg at The Pearl Theatre Company.  Regional theatre credits include 76 productions at Milwaukee Repertory Theater, 35 productions at Utah Shakespeare Festival (including the first post-Broadway production and regional theatre premiere of Peter and the Starcatcher and the world premiere of Neil LaBute’s How to Fight Loneliness), in addition to Alley Theatre, Actors Theatre of Louisville, CenterStage (Baltimore), Arizona Theatre Company, Repertory Theatre of St. Louis, Kansas City Rep, Indiana Rep, Alabama Shakespeare Festival, Clarence Brown Theatre (Knoxville), Resident Ensemble Players (Delaware), American Players Theatre (Wisconsin), Peninsula Players (Wisconsin), City Theatre Company (Pittsburgh), American Stage Festival (New Hampshire) and L.A. Theatre Works. 

 

He has worked on the world premieres of works by several prolific modern playwrights, including Neil LaBute’s recent How to Fight Loneliness; Theresa Rebeck's Fever; Jeffrey Hatcher's Armadale and The Servant of Two Masters; Academy Award-winning and Tony-nominated director Eric Simonson's Fake, Moby Dick, and Carter's Way (for which Barry received a Jeff Award for Sound Design); Hatcher and Simonson's Work Song: Three Views of Frank Lloyd Wright; Joseph Hanreddy and J.R. Sullivan's Pride and Prejudice; Tom Szentgyorgi's Snow; Lillian Groag's adaptation of Liliom; and Steve Pickering and Charley Sherman's adaptation of William Gibson's sci-fi masterpiece, Burning Chrome.  He has received five Chicago Equity Jeff Award nominations, won the 1996 Jeff Award for Sound Design for Kate Buckley's production of Macbeth at Next Theatre, a 2008 Jeff Award for Sound Design for Steppenwolf's Carter's Way, and a 2015 St. Louis Theater Circle Award for Sound Design for A Midsummer Night's Dream at Repertory Theatre of St. Louis.  At the beginning of his career he worked as both associate and assistant to Rob Milburn at the Goodman Theatre, at Steppenwolf, and for the national tour of Angels in America

 

In addition to theatre, Barry has designed, composed, and mixed live national events for corporate clients including AARP, AON-Hewitt, the Urban League, the Boy Scouts of America, and Jockey International.  For five years he played across the Midwest as bassist in the band Bottle Rocket Blue.  His designs and compositions for Work Song: Three Views of Frank Lloyd Wright and Fake have been heard on radio worldwide on L.A. Theatre Works' The Play's the Thing.  Barry holds a BA in Theatre and Music Theory/Composition and an MFA in Theatrical Sound Design from Purdue University.