2017
The Last Testament of Lillian Bilocca
Dir: Sarah Frankcom & Imogen Knight
Venue: The Guildhall, Hull
Sound Design
The Seagull
Dir: Sean Holmes
Venue: The Lyric Hammersmith
Sound Design
The Kid Stays in the Picture
Complicité
Dir: Simon McBurney
Venue: Royal Court, Jerwood Theatre Downstairs
Sound Design
BritishTheatre.com (Mark Ludmon) (full review)
"The Kid Stays in the Picture dazzles with sound and vision thanks to video designer Simon Wainwright, lighting designer Paul Anderson and sound designer Pete Malkin."
Spiked-online (Patrick Marmion) (full review)
"Set to Pete Malkin’s hypnotic soundscape of phones, planes and highways, this is also a visual kaleidoscope with shifting perspectives using video cameras and projections. It could so easily become a muddle of hi-tech exhibitionism. But instead it sweeps you along on the tsunami of Evans’ life."
Evening Standard (Henry Hitchings) (full review)
"For a while at the outset we’re confronted with a row of actors speaking into microphones, and it seems as though we’re going to be stuck with something akin to a dry corporate presentation. But before long a swirling collage assembles — combining projections, news cuttings, deft impersonation and carefully curated sound effects to create an absorbing feast of reminiscence."
Plays to See (Luke Davies) (full review)
"the whole production seems to effortlessly glide across space and time, with a constant flow of arresting images and richly detailed sound and movement."
The Encounter - International tour
Complicité
Dir: Simon McBurney
Touring: Australia, New Zealand, USA
Sound Design with Gareth Fry
New York Times (Ben Brantley) (full review)
"Mr. McBurney and his ace sound designers, Gareth Fry and Pete Malkin, have created an aural labyrinth of many layers. You’ll be watching Mr. McBurney’s lips moving in sync with what you’re hearing, only to discover that it’s just a recorded voice you’ve been listening to."
Hollywood Reporter (David Rooney) (full review)
"the production's most astonishing artistry is the infinitely layered enveloping world conjured by sound designers Gareth Fry and Pete Malkin. Close your eyes and you might find yourself reaching for bug spray."
Exuent (Nicole Serratore) (full review)
"the show is heavily reliant on binaural sound to create a sonically immersive environment (the incredibly complex sound design by Gareth Fry and Peter Malkin is a great reason to resuscitate the now-defunct Sound Design Tony award). With the headphones, we have no distance from the events because the show is happening inside our heads. With the intimate power of sound, we give over entirely to what we hear, even if we know it is not real. We’ve been told that’s not an actual recording of a buzzing mosquito and when we hear it later as part of the artificial cacophony of jungle sounds we do not stop and question it."
Talkin Broadway (Matthew Murray) (full review)
"the astonishing sound design by Gareth Fry and Pete Malkin, who use a trio of microphones (including a binaural head) to play games with time, space, and thought you probably never thought possible. Echoes repeat and sustain themselves into infinity. Seemingly random noises layer into gorgeous but chilling tapestries outlining entire ecosystems. The British McBurney, simply by angling his head, can conjure an electronic American voice that rings utterly natural. Words transform into memory, which in turn become a wholly different reality, which is itself then subject to McBurney's tiniest whims. And if he wants you to become hot, cold, or despairing, or to escort you to the brink of death, he'll stand in exactly the right place and unleash his utterance in just the right way to ensure you're helpless in his hands. It really is all this precise."
The Tempest
Donmar Warehouse
Dir: Phyllida Lloyd
Venue: St Anns Warehouse, Brooklyn, New York
Sound Design
Light and Sound America (David Barbour) (full review)
"Pete Malkin is the sound designer this time, and, thanks to him, the isle is full of noises, including hip-hop, EDM, and new age music, in addition to strangely powerful effects -- for example, a slap that is magnified until it sounds like the most murderous of blows."
Zeal NYC (Jil Picariello) (full review)
The sound design by Pete Malkin delivers extra enchantment, particularly the ear-tickling bone-crunching riff of Ariel’s transformations—the first time I found myself waiting impatiently to hear a specific sound in a theater. (And what the talented Jane Anouka does with the sound is a pleasure to the eyes as well.)
Beware of Pity
Complicité
Dir: Simon McBurney
Venue: Barbican Theatre
Sound Design
Evening Standard (Henry Hitchings) (full review)
"While the production contains a few scenes that dazzle the eye, notably a montage of wartime atrocities, visually this isn’t as rich as much of Complicite’s previous work. Instead it’s Pete Malkin’s layered soundscape that does most to create the piece’s psychological and historical density."
The Independent (Paul Taylor) (full review)
"The production is a miracle of musicality as it coordinates live video projections, archive footage (of, say, the ballerinas masochistically fan-worshipped by Edith), a powerful soundscape (Mahlerian yearning, a thudding heart), and dazzling montages and gifs that rattle us towards our own time of European division and a refugee crisis."
The Guardian (Michael Billington) (full review)
"The earth-pounding bustle of a cavalry drill is suggested through stylised movement and Pete Malkin’s sound score."