2018


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Queens of the coal age

 

Dir: Bryony Shanahan

Venue: Manchester Royal Exchange

Sound Design

Queens of the Coal Age is Written by Maxine Peake and tells the true story of 4 women who occupied Parkside Colliery coal mining pit in 1993 as they faced the closure of their community.

 

Creative Team

Director: Bryony Shanahan

Written by: Maxine Peake

Sound Designer: Pete Malkin

Stage Designer: Georgia Lowe

Lighting Designer: Elliot Griggs

Movement Director: Jennifer Jackson


Pity

Dir: Sam Pritchard

Venue: Royal Court Jerwood downstairs

Sound Design

 

 

 The Seagull - Lyric Hammersmith

The Seagull - Lyric Hammersmith

 

Creative Team

Director: Sam Pritchard

Written by: Rory Mullarkey

Sound Designer: Pete Malkin

Composer: Tom Deering

Stage Designer: Chloe Lamford

Lighting Designer: Anna Watson

Movement Director: Sasha Milavic Davies


 White bike - Photo by Tommy Cha

White bike - Photo by Tommy Cha

 White bike - Photo by Tommy Cha

White bike - Photo by Tommy Cha

Schism

Written by: Athena

Dir: Lily Mcleish

Venue: The Space Theatre

Sound Design

 White bike - Photo by Tommy Cha

White bike - Photo by Tommy Cha

I've loved working on this beautiful show and with an great team telling this story in an inspiring and creative way.

Inspired by the story of Eilidh Cairns & set along an existing route ‘The White Bike’ is an affecting play about personal loss and a celebration of one woman’s life, tragically cut short. Directed by Lily McLeish (Associate Director on The Royal Court/Katie Mitchell’s Anatomy of a Suicide & Ophelias Zimmer) and written by Tamara von Werthern (Founder of Fizzy Sherbet – a new writing initiative for women writers) this world premiere creates an immersive experience of cycling in a physical, abstract and imaginative way.

 

Creative Team

Director: Lily Mcleish

Sound Designer: Pete Malkin

Assistant Sound: Joe Dines

Stage Designer: Anna Reid

Lighting Designer: Dan Saggers

 


Frogman Shoreditch Town Hall

Curious Directive

Dir: Jack Lowe

Venue: Edinburgh Fringe Festival, UK Tour

Sound Design

Frogman is a part Virtual Reality, part Live Theatre show that was created by Curious Directive, Directed by Jack Lowe.

The Great Barrier Reef, 1995. Meera is 11. It's her first sleepover. Strawberry Dunkaroos, Sega Mega Drive and coral fragment analysis descends into torch-lit storytelling from sleeping bags. Lights off. In the corner, Meera’s aquarium is beginning to glow. Outside over the reef, the Frogman hovers, looking for traces of a missing child. As police search lights refract through the ocean, the annual coral bloom is due, creating an underwater snowstorm. Time is running out. A coming-of-age, supernatural thriller, this is a ground-breaking, world-first theatre experience, experienced in VR headsets from double Fringe First award-winners, curious directive.

We took 3 weeks out in Australia filming the young Meera and her friends and created 4 VR Sequences that take you into the world her younger self. Originally created for Edinburgh Fringe Festival, Frogman is now on tour around the UK.


  The Encounter     Photo Robbie Jack

The Encounter

Photo Robbie Jack

The Encounter - Barbican and European Tour

Complicité

Dir: Simon McBurney

Touring: Australia, New Zealand, USA

Sound Design with Gareth Fry

The Encounter has been and continues to be a huge Sound Design project, after it's Broadway run of at the John Golden Theatre in New York it's now on a tour of Australia and New Zealand, which will be followed by a small Tour of America.

Creative Team

Director/Performer: Simon Mcburney

Co-Director: Kirsty Housley

Sound by: Gareth Fry with Pete Malkin

Stage Designer: Michael Levine

Lighting Designer: Paul Anderson

Video Designer: Will Duke

Assistant Director: Jemima James

 

 

 

 

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."

 


  Beware of Pity     Photo by Gianmarco Bresadola, 2015

Beware of Pity

Photo by Gianmarco Bresadola, 2015

Harry Potter and the Cursed Child - Broadway

Sonia Friedman Productions

Dir: John Tiffany

Venue: Lyric Theatre Broadway

Associate Sound Design

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Creative Team

Director: John Tiffany

Associate Director: James Yeatman

Sound Design: Pete Malkin

Associate Sound: Ben Grant

Stage Designer: Anna Fleischle

Lighting Designer: Paul Anderson

Video Designer: Will Duke

 

 Beware of Pity Barbican 2017  photo by Gianmarco Bregadola

Beware of Pity Barbican 2017 photo by Gianmarco Bregadola

 

 

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."