I’m up in Glasgow today running a workshop for Stellar Quines as an introduction to their excellent m*****classes sound design artist development scheme, supporting women looking to move into theatre sound design.
Following on from it’s international touring last year, Barbershop Chronicles is now back in the UK, touring ahead of a run at the Roundhouse later this year.
It’s rare for new venues to open in London, especially one with as much exciting potential as the Bridge Theatre, which feels like a large version of the Cottesloe/Dorfman Theatre, allowing more epic work to feel quite intimate.
Alys, Always opens shortly at the Bridge Theatre and has been a lovely reunion of working again with Nick Hytner, Bob Crowley, Jon Clark, Christina Cunningham; and with the glorious looping cello compositions of Grant Olding, played live by Maddie Cutter.
I’ve been working on the development of this mix of live performance, virtual reality and animation for a while, and it’s exciting to open it up to a public audience now. We’re previewing it at the Young Vic Theatre from Jan 21st to Feb 2nd. Tickets will go fast!
Developed by the National Theatre’s Immersive Storytelling Studio and the National Film Board of Canada.
Written and Directed by Jordan Tannahill.
Directed by John Spooner.
This is my 5th year designing the sound for the CBeebies Christmas show. This year we’ve adapted Thumbelina for the stage, featuring a seven piece band. Our musical was broadcast on CBeebies over Christmas, on BBC2 on Christmas Eve and played nationwide in Cinemas.
After touring Australia and New Zealand earlier this year, Barber Shop Chronicles is now touring the USA and Canada for the next four months. Having toured in in-the-round and thrust configurations, this tour marks the first time we’ll play proscenium houses.
Lisa Hammond & Rachael Spence with Improbable and the Royal Court Theatre.
Directed by Lee Simpson.
We originally made No Idea in 2010.
Still No Idea has been developed from it for 2018.
Have things change since 2010…? Come and find out!
Touring the UK followed by a run at the Royal Court Upstairs
I worked again with 59 Production’s Richard Slaney to create this exhibition for the IWM. In the first space I created a soundtrack entirely out of the sound of sand, to accompany a projected abstract piece animated using sand particles. The second space, which was completely dark and treated to be acoustically dead, featured am ambisonic soundscape of a number of two-minute silences, that myself, my team and others recorded of a variety of memorial silences held across the world, from St. Pauls to a submarine, from Derby Football Club to the Everest Base Camp.
After working with 59 Production’s Richard Slaney earlier in the year, we worked with Anna Meredith on her piece Five Telegrams. The night before the First Night of the Prom, we previewed her piece, projection mapped on the exterior of the Royal Albert Hall.
Then using recordings of that performance, and Anna’s actual First Night of the Prom (which had visuals mapped on the inside of the Royal Albert Hall), we edited and mixed a version to play for the opening of the Edinburgh International Festival.
Working with producer David Waters, we created this documentary about anthropologist Laura Rival, who spent many years living in the Amazon in a Huaorani community. It intersperse’s David’s interviews with her, with her own recordings made there, and binaural recordings I made in the Amazon Rainforest.
I was very fortunate to be awarded a Drama Desk Award, an Outer Critics Circle Award, and a Tony Award for the sound design of Harry Potter and the Cursed Child.
After a lovely Spring in NYC, we’ve opened Harry Potter and the Cursed Child at the refurbished Lyric Theatre on Broadway. It’a s glorious space for the show.
I worked again with 59 Production’s Richard Slaney, on the recording, editing, mixing, system design and diffusion of Esa-Pekka Salonen’s Karawane for Orchestra and Chorus. Starting off as a recording of the BBC Symphony Orchestra I created a sound design using 40 speakers and 20 sub-bass speakers spaced out down the Beech Street tunnel in central London (the dingy tunnel that leads to the Barbican).
I worked with 59 Production’s Lysander Ashton to create the sound design for Copenhagen’s Tycho Brahe permanent exhibition. It features Kinect, touchscreen and motion tracking interactives, as well as regular video content and soundscapes in other parts of the gallery.