Rick Haverinen, playing Professor Willard, tries the patience of Isaiah Stodola as stage manager, with a protracted lecture about Grover’s Corners, New Hampshire, the location for the Thornton Wilder play “Our Town.”

I am a ham actor. Put me on the stage in costume with other players and I’m a happy thespian.

Next to that, I love doing sound design for plays. One of my more successful projects was designing “Our Town” at Walla Walla Community College in 2015, where I ran enough copper zip cords to support 17 acoustic sources scattered around the set and the “house,” theater-ese for the audience, plus a subwoofer. After all, there are a couple thunder cues.

Sadly, the college chose to raze the China Pavilion theater to the bare ground. All that copper cable running for naught.

I think of Thornton Wilder’s show as a radio play with costumes and a minimal set, and that’s how I built it for sound support.

My favorite cue to create was for the invisible milk delivery horse, Bessie. I created two stereo tracks and using the software program QLab, panned them across five acoustic sources in the theater from up stage center to above the house right audience entrance.

The first stereo track was of the horse plodding along. The second stereo track was the wooden wagon wheels rotating and glass milk bottles gently rattling. You heard the stereo horse in advance of the stereo milk wagon, panning across the five speakers as milkman Howie Newsome makes his exit.

Shakespeare shows I would like to do include “The Tempest,” “King Lear” and “A Midsummer Night’s Dream.” Tempest has a storm at sea, and I have imagined an elaborate cue when Prospero burns his book of magic. Lear has a great thunderstorm with one scene in a mill. Midsummer has scenes with fairies and I have figured out a way to make them orbit around in three-dimensional space over the audience’s heads.

Gotta try that someday.