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  • Giant – work in progress

    Score in development Update May 2020 I’m spending spring and summer 2020 completing the score for Giant and am working with Britten Pears Arts towards a full production – details to coming…

  • Giant - Sarah Angliss


    New opera in development In 2016, I was delighted to be awarded a Jerwood Opera Writing Fellowship for a new chamber opera, Giant, based on the life, death and contentious afterlife of…

  • The Twilight Zone – Almeida, London

    Composition and sound design for the The Twilight Zone – re-editing the orchestral underscore from the original series and counterpointing it with 21st century sounds and music of my own. The first official stage production of the classic CBS series. Script adapted by Anne Washburn, directed by Richard Jones.

  • Once in a Lifetime – Young Vic, London

    Predating the screwball comedies of the 1930s, this play by Moss Hart and George S. Kaufman was first performed in 1930, only two years after The Jazz Singer became the first commercial talking picture and a worldwide hit. I was sound designer on this revival of the play, presented over Christmas 2016 at The Young Vic Theatre, London. Directed by Richard Jones.

  • The Hairy Ape Stokehole

    The Hairy Ape – Old Vic and Park Avenue Armory

    Composition and sound design for The Hairy Ape (1922) – Eugene O’Neill’s expressionist masterpiece which uses the overwhelming sounds of an engine room on an ocean liner to explore dehumanisation in the age of modernity. Directed by Richard Jones.

  • Needless Noise

    The Hairy Ape – noise and modernity

    Some discoveries from the archives about the earliest European productions of The Hairy Ape, including the first London production which featured Paul Robeson as Yank. Even before electric sound, the stokehole scene in this play was evidently a feat of endurance for the actors.

  • The Effect – National Theatre

    Electroacoustic composition, created from sounds of the laboratory, for the 2012 play by Lucy Prebble about a love affair that develops on a clinical trial. At The National Theatre (Cottesloe), directed by Rupert Goold – a co-production with Headlong.

  • It Felt Like a Kiss – visceral sound effect

    A collaboration with Punchdrunk to research a novel effect – one that creates a visceral feeling of deep bass sound, without a clear awareness of its source. Deployed in It Felt Like a Kiss – a show by Punchdrunk and Adam Curtis for The Manchester International Festival, 2009.