Rehearsals were an important part of the collaborative process because the show was devised and continued to grow through exploration in the room. During the first week of rehearsals, the director focused on ensemble building with the actors, creating trust, connection, and a shared sense of play that would support the devising process. I observed how the actors worked together and began learning the energy of the company. In the second week of rehearsals, I became more actively involved as devised scenes started to take shape. I watched the material being created and evaluated which sounds and music choices would best support each scene, considering tone, pacing, and character dynamics. During this time, my mentor also introduced me to Freesound, where I learned to source sound effects legally and professionally. I realized that many of the sounds I initially found on YouTube could not be downloaded or used effectively, so I began searching through Freesound and listening to a wide variety of audio clips to determine which sounds best matched the concept I was creating. In production meetings, the costume designer shared an 1980s-inspired visual direction for part of the show, and I wanted to collaborate across design areas by creating an 1980s-inspired sound cue for the party scene. This allowed the sound design to support the costume concept and helped create a unified atmosphere on stage. Because the actors also had to sing while listening to tracks, I often played music during rehearsal while carefully balancing the volume so they could hear the track clearly and still be heard singing. This required active listening, quick adjustments, and clear communication. Overall, the rehearsal process allowed the sound design to grow alongside the performance, making sound an active part of the creation of the piece.