A circus theatre show about space debris, told between a semi-sentient spacesuit and a person tuning into a radio on Earth. Features extensive voiceover and spacey atmospheres.

Created by Hours (previously Orange Skies Theatre), led by Daisy Minto.

A highly cinematic and dramatic design for a show about being a Latin American Londoner. Featuring a 12-speaker rig for spatial audio, microphones for live effects, and on-stage practicals.

Performed at Brixton House, June 2022.

Directed by Tommy Ross-Williams and Lucy Wray.

Produced by The Hale and Brixton House.

A blend of coastal soundscapes and live foley narrate a story of a boy losing his sight, mixing precise field recordings with a DIY aesthetic. It was created alongside visually impaired actors and was a highly accessible production.

Performed at the Watermill Theatre, October 2022.

Directed by Lucy Atkinson.

Produced by the Watermill Theatre.

"I opted to experience a good third of the production with my eyes closed, and can honestly say that I still found it to be as transporting and affecting as some of the best radio dramas I’ve listened to."
- Review by Wokingham Today

An award-winning poetic duet between a physical performer and myself exploring the materiality, history and agency of rock and copper. Features an array of live electroacoustic instruments, custom hardware, networking and voiceover.

Performed at:
• Zoo Southside, August 2022;
• Exeter Phoenix, September 2022;
• FIAT Festival, September 2022;
• Ovada / IF Oxford, October 2022.

Directed and produced by Mechanimal.

"The music was incredibly engaging"
- Review by Voice Mag

A retelling of a Iraqi-Jewish story for young audiences. Developed with a hearing impaired company for d/Deaf audiences. Features a combination of sound design and composition, mainly to support storytelling in visual vernacular.

Performed at the Southbank Centre (London), September 2022.

Directed by Lilac Yosiphon.

Produced by Unlimited.

Image credit: Lidia Crisafulli.

An immersive performance about a Day of the Dead celebration in the Yucatán region of Mexico. I did live sound alongside the performers, including live manipulation of voices and scoring physical sequences.

Performed at The Edge (Birmingham), Dec 2021.

Directed and produced by Itzatna Arts.

Image credit: ITZATNA Arts & Louise Carpenedo

An underwater clown romance. My design featured a distorted Human League remix, drones tuned to the tunnel venue's acoustics, real-time processing on vocals and set, and oceanic bass rumbles.

Performed at Vault Festival (London), January 2020.

Directed and produced by emma + pj.

"The use of sound is masterful and subtle. It takes all the bumps and growls of VAULT Festival and turns them into an animal to be tamed, a constant underscore of longing."
- Review by Within Her Words

Image credit: Carlota Caldeira

A staging of the third of Sophocles's Oedipus trilogy, set at Oedipus's deathbed. I trained the Chorus to use their voices to create all the sound effects live - eg. a hospital ambience, a thunderstorm, the voices of the gods - which was then augmented by live processing: pitch manipulation and looping. 

Performed at Cambridge Arts Theatre, Oct 2019.

Directed by Daniel Goldman.

Produced by Cambridge Greek Play.

"[It was] the most beautifully designed show in terms of sound I’ve ever made [with] and a sound world that grabbed 600 audience members every show and moved them from darkness of grief to the blinding light of hope."
- Daniel Goldman (Director)

A text-less piece about three polar bears struggling to adapt to life in an Arctic made of plastic. The sound was highly integrated into the action and set, featuring stage vibrators, motion capture, several embedded speakers, contact microphones and generative sounds.

Performed at the Royal Exchange Theatre (Manchester), June 2017.

Directed by Powder Keg Theatre.

Produced by the Royal Exchange Theatre.

"Brilliantly unsettling sound design"
- Review by Exeunt