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This multi-authored article collects a range of position statements made by leading scholars/practitioners in the fields of theatre aurality, music theatre/opera and sound design. Contributors independently prepared short statements in response to a central provocation – namely, the mooted ‘scenographic turn’ and its implication for theatre sound studies. The article provides snapshots of current opinions about theatre sound design and scenography. It does not advance a single, unified argument but rather outlines some key ways in which sound/music and scenography are operating, and have operated, in theatre, and have been discussed in aesthetic theory. The article ultimately reinforces the importance of attending to sound and scenography as co-constitutive elements, and suggests there is no single or best way of doing this.