So I realised its already July and most of the year has gone by without any updates here. So will be posting a bit more frequently now. To start off just a quick backlog of the year so far, starting in January!
I began by Shadowing the lovely Carolyn Downing during a few of her tech processes, which was a great insight into her working process and general views on Sound Design, a lot to learn from an intelligent designer doing some very interesting Sound work.
I then went on to design a, slightly alternative, theatre piece located inside St Leonards Church in Shoreditch called SUN produced by National Art Service, It was a really friendly company to be part of. Talking technically one of the most enjoyable experiences was being able to locate sounds around this huge expanse of space whilst also (if needed) dislocating the sounds from specific places and abstracting the sounds of the exterior central London evening. Shoreditch is a very active part of the City and it doesn’t let up for anything, Its not something I’ll go into lightly again but it opened up a different world of using the spacial relationship with an audience.
Then worked as Associate on the Almeida verison of 1984 for the very talented Mr Tom Gibbons after having worked with him on Lionboy last year. This then went onto transfer into the Playhouse in London.
Following this designed and operated a double bill of new work funded by Aldeburgh Music, Royal Opera House and Opera North called The Commision/Café Kafka, through which I worked with Elspeth Brooks to integrate an element of Sound Design and live sound into her composition.
Then went on to Sound Design a project called War Correspondents Directed by Helen Chadwick and Stephen Hoggett which then went on to tour the UK. It will be back for some London dates in October followed by some more touring and I’ll talk more about in a separate post.
Brothers Stag doo…
I then worked with Mr Gareth Fry once more on a design for 59 Production’s projection map of the Sydney Opera House.
For June I’ve been in Aix en Provence with The Magic Flute once again as Gareth Fry’s Associate, helping to fit the design into their fairly unique venue and transferring all the changes we had made back into a German version of the show after re-making it in English at the Colloseum for the ENO last year.
July so far, I’ve been in Salzburg (Hallein to be exact) Sound Engineering and Operating a new production for the Salzburg Festival. A Katie Mitchell/ Leo Warner piece Sound designed by Gareth Fry and Melanie Wilson called The Forbidden Zone.