Robert S. Fisher has been involved with theatre, music, and the arts for over fifteen years. Beginning with his first drum kit (although his mother would argue that it was “Kitty Man” a cat-detective-superhero), Robert has spent all subsequent years sworn to poverty and the pursuit of artistic nirvana. Over that time he has contributed his abilities as an actor, sound designer, director, whatever to over a hundred productions; added his musical stylings to eight bands (releasing ten albums); written seven short plays and one full length (5 of which have been produced); and all around immersed himself in the arts world with no end in sight.
Robert attended the University of Southern Mississippi where he majored in theatre performance before coming home to Texas where he grew up. While in Hattiesburg, Mississippi, he received two performance scholarship nominations, made the President’s List, co-founded the RAM Combat Group which displayed stage combat skills for high school students, and was persuaded to develop a technical skill by George T. Crook (great grandson of the US general who hunted down Geronimo and a lighting designer for The Who!) which became sound design. A natural choice since, when not committing time to theatrical endeavors, Robert spent his free hours entrenched in South Mississippi’s unusual neo-punk music scene.
In Austin since 1997, Robert has worked to establish himself as an artistic “everyman” for most of the major theatre organizations here. He has served as an artistic associate for the now defunct Public Domain Theatre Co. and currently serves as a company member of dirigo group, Rude Mechanicals, Subterranean Theatre Co., and Hyde Park Theatre (for whom he is the resident sound designer.) He has also worked extensively with Refraction Arts Project and Bayou Radio Productions (the latter being helmed by the savagely funny actor/writer/director Lowell Bartholomee.) Robert has on several occasions been recognized and praised for his collaborations with the aforementioned at FronteraFest and beyond. He has been nominated numerous times for his work by the Austin Critic’s Table and Austin Circle of Theatres.
Outside of the theatre community, Robert spends his days as a recording engineer at Amity Island Studio for ADV Films. His work for them has been seen on The Cartoon Network and Anime Central. His free nights are spent making music. Individually, he has written and recorded over seventy-five song since coming to Austin that may or may not see the light of day (though some have been performed at dirigo group benefits.) He also performs and has recorded three albums with Bigamy Sisters. When staving off all artistic inclinations, Robert likes to spend time with his wife, Leigh, his four cats, indulging his audiophile tendencies, and slowly restoring his ’65 Mustang.
Some of Robert’s favorite theatrical work he’s done include (in no particular order) his directoral debut 300 Plays About Vladimir Putin (Rude Mechanicals)", performances in Requiem For Tesla and War (Rude Mechanicals); References to Salvador Dali Make Me Hot and both versions of Celebrity Crush (Refraction Arts Project); Blah, Blah, Blah (Refraction Arts/Bayou Radio); The Possibilities (Public Domain); Night Must Fall (Southern Arena Theatre); Stadium Devildare (Rude Mechanicals); Cherrywood (Rude Mechanicals); and his sound designs for How Late It Was, How Late (Rude Mechanicals) (Best Sound Design, Austin Critics Table), The Middle of the Night and True West (dirigo group); Fish (Aunt LuLu Plays); The Ladee Leroy Show (Café Armaggeddon); Cherrywood (Rude Mechanicals); blah, blah, blah (Bayou Radio Productions); and Vigil (Hyde Park Theatre.) This list could go on and on but if you want more you should just ask him. He’s pretty easy to find. Try looking at the Blue Theatre, The Off Center, or the HPT! If he’s not there he probably will be soon.
What’s he doing next?December Sound Design for Hemophiliacs - (Rude Mechanicals)
February The Jinn (performer and sound designer) - (the dirigo group)