A snapshot of recent praise for my work:
[The sound design] … fundamentally elevated the tone and stakes in the play.
… sheer immersive quality … They opened up the world to the audience in a way that productions are rarely able to accomplish.
… sound effects were also dramatic and thrilling. This island certainly was full of strange noises, and it felt like a suitably alien environment for the European castaways.
The sound … was glorious, of an expansiveness, quality, and scale mostly alien to my experience of student theatre.
sound designer Alva Orr does some remarkable work: in moments of extreme stress, a deep bass hum plays from the speakers to simulate tinnitus, drowning out voices and shaking us in our seats. The sound design created an especially visceral atmosphere
The horror of the hospital is audio-visually externalised with striking success
I would really like to applaud the sound design … I was convinced at first that someone or something was actually banging on the roof of the theatre – a rather impressive feat.
…the wonderful grotesqueness of the sins was magnified by lights shifting in colour and an undercurrent of ominous sound that permeated the auditorium. Embedding speakers in the set was an especially effective move in this sense, with the sounds of hell fully integrated and resonating throughout the theatre: hell and the mortal world felt fully intertwined.
… the perfectly timed audial effects of fast-paced, sped up ticking and persistent chiming mirrored impeccably the tense mood created onstage by the interaction between Faustus and the demons.