composer, performer and sound designer
Contemporary voice and the sounds of 1920s radio take flight along a London street, in this new piece exploring resonances between early wireless and telepathy. For Nick Ryan’s VoiceLine, a 39-speaker array which stretched 170m along the The Strand, outside the old BBC Marconi building.
Composition and sound design for The Hairy Ape (1922) – Eugene O’Neill’s expressionist masterpiece which uses the overwhelming sounds of the engine room on an ocean liner to explore dehumanisation and the shock of modernity. At The Old Vic, London, and Park Avenue Armory, New York. Directed by Richard Jones.
A short biography of composer Daphne Oram, co-founder of the BBC Radiophonic workshop and inventor of the Oramics ‘drawn sound’ system. For a reprint of her treatise on sound, electronics and metaphysics.
Composition and sound design for the for the first official stage production of The Twilight Zone in 2017. Adapted by Anne Washburn from the classic 1960s CBS television series and is directed by Richard Jones. At The Almeida Theatre and Ambassadors (West End), London.
Presenting and co-researching this history of sound effects for BBC Radio Archive on 4. The show marks 200 years since Thomas De Quincey wrote On the Knocking at the Gate in Macbeth, his early consideration of the powerful psychological impact of sound on stage. Produced by Resonance FM.
Combining the robotic carillon with a machine learning algorithm from Dan Stowell to hear automatic transcriptions of the dawn chorus played by polyphonic bells. For International Dawn Chorus Day.
Some reflections on noise and 1920s modernity, as expressed in Eugene O’Neill’s ‘The Hairy Ape’. This includes some archival discoveries about early performances. These notes were made after I’d composed a score for a new production of the play and contributed to the Science Museum research forum ‘Noise, Music and Silence’.
Sound design for this revival of Once in a Lifetime at The Young Vic, London, directed by Richard Jones. Predating the screwball comedies of the 1930s, this play by Moss Hart and George S. Kaufman was first performed only two years after The Jazz Singer became the first commercial talking picture and a worldwide hit.
An album of dreamlike music from 2019, distilling Sarah Angliss’ latest work with ancient instruments and extraordinary electroacoustic techniques. Air Loom was performed along with highlights from Ealing Feeder on a UK tour in 2019, featuring vocalist Sarah Gabriel and percussionist Stephen Hiscock.
Composition for the first performance of The Effect – a love story set on a clinical drugs trial. Written by Lucy Prebble, this play explores sanity, neuroscience and the limits of medicine. A co-production between the National Theatre and Headlong, directed by Rupert Goold.
A paper with performer and theatre historian Caroline Radcliffe on our interpretion of The Machinery. This astounding industrial dance from the early nineteeth century was devised by women working in the Lancashire cotton mills. Wearing clogs, they copied the sounds and actions of the factory machines. In Performance Research.
In this optimistic view of mechanisation for TEDx Brighton (2011), Sarah reveals some surprising connections between two types of dance music, inspired by the relentless beat of the factory machine, which flourished two centuries apart. The earliest was devised by women working in Lancashire cotton mills.
One of my earliest automata, Ventricle is an oxblood red vintage handbag about the same age as my own heart. It opens and closes continually, in the rhythm of a human heartbeat. Exhibited at Kinetica 2011 then selected for temporary display in Gavin Turk and Deborah Curtis’ House of Fairytales.
A controlled psychological experiment, in the form of two back-to-back concerts. These concerts were highly unusual because some of the music was laced with infrasound (extreme bass sound, below 20Hz in frequency). It took place in the Purcell Room, London, in 2003.