A Queen’s Theatre Hornchurch and New Wolsey Theatre Ipswich production. Script by Amanda Whittington. Directed by KirstieDavis, Designer Jess Curtis, Lighting Designer Mark Dymock, Sound Designer James Cook, Choreographer Lucie Pankhurst.
Three young couples are striving for glory on the competitive dance circuit – having finally made it to Blackpool’s National Amateur Championships via the motorway hard shoulder.
But there’s pain and heartbreak beneath the dazzling glitter ball when you’re dancing to other people’s tunes and hiding secrets. And with the world at your feet, it only takes one false step…
This bittersweet comedy reveals the backstage stories behind the fabulous frocks, fixed smiles and fake tan, looking at the real lives of those for whom dancing is everything.
I Sound designed Jack And The Beanstalk for Little Wolf Entertainment at Derby Arena. This involved complete system design, sourcing sound effects, and crafting the overall sound of the show. Some pics on the read more..
I was Sound Designer for Once the Musical produced by the New Wolsey Theatre along with Queens Theatre. Once is a well known modern musical performed by actor-musicians. This brings it’s own challenges with every actor needing to be mic’d along with all of their instruments. The show is a very delicate mix, intentionally sounding acoustic; as soon as anything sounds amplified, you’ve lost the intimacy of the show.
I employed MKE2 capsules on all of the cast, aiming for hiding them in the hairline on the majority of the cast, apart from those with hats, or a thin hairline. I think the team has done a great job hiding the mics on everyone. The majority of the instruments also have MKE2 capsules on them, with all of the guitars using their internal pickups. All in, a total of 30 channels of wireless.
Along with the QL5 doing all of the mixing work on the show, there is a MRX7D doing matrixing and delays for multiple groups from the console; enabling a few different options for vocals and instruments to be processed. E.g. a backing vocals group is spread wide across the system, whereas the lead vocal is straight down the center. This lets some of the ensemble numbers open up in the room, whilst keeping the quieter intimate songs remain just that.
I was Sound Designer and Sound #1 for Seedtime 2018’s Legally Blonde from London Studio Centre. An intensive tech period lead to two casts of about 40 students performing over 2 weeks. Continue reading →
The Wolsey Theatre in Ipswich created a piece of theatre to commemorate Ipswich Town FC’s FA Cup win in 1978. The piece followed the storylines of different families on the lead up to the FA Cup win including all of the games in the tournament. A band of actor musicians were used as a soundtrack for the dance sequences that interpreted the different matches.
The sound design encompassed loud lively music, along with dialogue interwoven with the action in the matches. A tricky balance to strike. Along with this, the recording and edit of a voiceover for the commentator throughout the show was needed.
I was Sound designer for Fingersmith’s touring production of Up n Under. We incorporated live Audio Description from an actor on the stage, and used creative captions throughout the show. We toured an audio description kit for audience members needing to use it to access the show. The sound design consisted of on stage toured speakers and venue’s systems. The abstract set meant that sound was used to try and create a sense of where the scene was set. This also worked for blind members of the audience; enhancing the experience.
Here is a video of the dream sequence in the show. Adam was signing the dream he was having before a big match in the play. All of the voiceover was pre-recorded, and sound was used to set the scene and take you on a journey as he signed. It was tricky lining up the recorded audio with what was being signed. He can’t slow down his signing as he can’t hear the the track – but he was very consistent in his timings, which worked for the show!
A fingersmiths and New Wolsey Theatre co-production of John Godber’s ‘Up ’n’ Under’ Feb 2018 directed by Jeni Draper
With Adam Bassett and voice of Joshua Hayes
Filmed at New Wolsey Theatre by Joshua Carver and Alex Bird
I was Sound Designer for Queens Theatre Hornchurch’s production of Beauty & The Beast 2017. Working with a wonderful creative team including Director Martin Berry, Designer Keith Orton, Lighting Designer Prema Mehta, Musical Director Dan de Cruz, Choreographer Sundeep Kent.
I was Sound Engineer on the Wolsey Theatre’s production of The Sword in the Stone this year. I programmed and opped the CL3 throughout the run. All the cast were on headmics which aided with the underscore on the intro on the majority of the songs. As usual, handhelds were used for the songs.
Working with Greenspark Productions, I was Sound Engineer for a conference, awards and entertainment show in Brighton. The set was a 1 1/2 day build, and a 3 hour getout. I used the LS9 with a stagebox to mix the 10 ways of RF, and the entertainment in the evening. Which included Andreas Faustini off of Xfactor, and a team from Priscilla the musical.
The Gallery Players put on a great production of Hairspray. Sound designer was Simon Deacon from Crosslight & Sound. I was on hand to help with the sound design in the relatively small amount of time there was to mix the show.