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There is a Light That Never Goes Out - Scenes from the Luddite Rebellion

Created By: James Yaetman and Lauren Mooney

Venue: Manchester Royal Exchange Theatre

Sound Design


It's the early 1800s, Manchester is one of the most advanced cities in the world, overflowing with innovation. But the workers and craftsmen are being side-lined for profit. The world is shifting right under their feet. It is time to come together, it is time for rebellion – but with spies in the midst who can be trusted?

The Industrial Revolution was the original Northern Powerhouse, but not everyone bought into the future it promised. Angry workers smashed the new machines and were written off as enemies of progress. Their 19th-century complaint, that bosses were using technology as an excuse to beat down the workers, resonates now more strongly than ever.

Using 21st-century technology, this vivid and passionate production shows how the Luddites helped inspire the birth of Manchester’s radical political identity – and what happens when people without power try to seize it.

We worked throughout rehearsals with the company to devise this piece using research from the luddite movement of the early 1800’s, using Sounds recorded in the Quarry Bank Mill just outside of Manchester and closley integrating Sound effects and music to experiement with concepts of relaying recorded history now.

Creative Team

Director: James Yeatman

Dramaturg: Lauren Mooney

Sound Designer: Pete Malkin

Associate Sound: Dan Balfour

Co-Designer: Naomi Kuyck-Cohen

Co-Designer: Joshua Gadsby

Reviews

The Stage (Chris Bartlett) (full review)

"The multi-tasking cast in modern clothes uses little more than mic stands and Pete Malkin’s evocative sound effects to bring to life the story of how Luddite unrest spread to the north in 1812…."

The Observer (Clare Brennan) (full review)

"Moving on and about the raised scarlet platform that dominates the centre of the Royal Exchange’s theatre-in-the round, actors in modern dress deploy microphones like wizards’ wands, conjuring sounds to swirl around the stage (Pete Malkin’s sound design). Rhythmically percussive clangs and clatters shape relentless factory looms (“You may tire but they never do”); sliverings of tinkling glass “show” us shattering windows and chandeliers in the Royal Exchange’s dining rooms during a protest (a site-specific moment)."

The Guardian (Catherine Love) (full review)

“Manchester’s radical past is reanimated by the roar of disgruntled crowds in Pete Malkin’s complex and ever-shifting sound design"

Frankly My Dear (Lucy) (full review)

"…this show is extremely technically impressive. Its opening uses sound design and lighting to contrast the peace and quiet of agricultural life, as opposed to the terrifying noise of work in the factories. Pete Malkin and Dan Balfour use sound extremely effectively throughout the production."


De Kersentuin (Cherry Orchard)

Dir: Simon McBurney

Venue: Raazobal, International Theatre Amsterdam

Sound Design

After having stayed in Paris for several years, the widow Ranevskaya returns to her family home in Russia. She encounters a changed world. The family’s debts have become so great that the house and estate will have to be auctioned.

Businessman Lopakhin sees a way out. He proposes to cut down the cherry orchard and use the land to build summer cottages on, which can be rented out.

Photo by: Henry Verhoef

Creative Team

Director: Simon McBurney

Written By: Anton Chekhov

Adaptation by: Robert Icke

Sound Designer: Pete Malkin

Associate Sound: Bart Coenen

Scenographer: Miriam Buether

Lighting Designer: Paule Constable

Video Designer: Will Duke

Costume Designer: Fauve Ryckebusch


Helt Privat (Privacy)

Dir: Audny Chris Holsen

Venue: Kilden Theatre, Norway

Sound Design

Originally performed in London’s Donmar Warehouse, this was a new production of Privacy, in Norwegian and the Kilden Theatre.

Creative Team

Director: Audny Chris Holsen

Scenography and Costume Design: Libby Watson

Sound Designer: Pete Malkin

Lighting Designer: Mike Robertson

Video Designer: Andrzej Goulding












Harry Potter and the Cursed Child - Australia, Melbourne

Sonia Friedman Productions

Dir: John Tiffany

Venue: Princess Theatre

Associate Sound Design

Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter and the Cursed Child is a new play by Jack Thorne. It is the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stageThe first part of 2019 was spent in Melbourne working with Gareth and our amazing Australian Sound team on the Melbourne version of Harry Potter and the Cursed Child. It was a wonderful experience with a lovely team who made the whole production a smooth experience. Gareth's Design was nominated for the Helpman Best Sound Design award.

Creative Team

Director: John Tiffany

Movement Director: Steven Hoggett

Sound Design: Gareth Fry

Associate Sound: Pete Malkin

Australian Associate Sound: David Tonion

Composer & Arranger: Imogen Heap

Music Supervisor: Martin Lowe

Stage Designer: Christine Jones

Lighting Designer: Neil Austin

Video Designers: Finn Ross and Ash Woodward

International Associate Director: Des Kennedy

International Associate Movement Director: Neil Bettles