Ian Dickinson is an Olivier Award winning, Tony Nominated Sound Designer for Theatre. He has an extensive catalogue of work, with key and frequent collaboration with The National Theatre, Harper Eliot/ Marianne Elliot, Mathew Dunster and Ian Rickson. He is a resident designer for the London based sound company Autograph Sound, and in the past has been Head of Sound at the Royal Court, the Lyceum theatre in Edinburgh and Deputy Head of Sound at the Royal Exchange theatre in Manchester. He works in both the subsidised and commercial sector across musicals and, more frequently, with content based productions. His most notable success include Curious Incident of a Dog in the Night Time (National Theatre, West End and Broadway), Company (West End and Broadway), Jerusalem (Royal Court, West End and Broadway?), Angels in America (National Theatre and Broadway) and Oceans at the End of the Lane (National Theatre and West End).

Anna Clock is a composer, musician and sound artists working across all forms including theatre, film, radio and installation; as well as composing and performing for other musicians and leading their own projects, they are based in London.

Tony is a London based Theatre Sound Designer specialising in Musicals, Plays and live music events. Tony has been working in the Theatre industry for over 30 years after entering the industry after a short lived professional football career. He has a City & Guilds in Sound Engineering and a BTEC National Diploma in Stagecraft. Theatre backstage diversity and inclusion activism features heavily in Tony's career. He is currently one of 3 Co-Directors of Stage Sight and founder membee of industry based advisory and recruitment group, The Audio Cartel. He is supported and inspired by his family, who have enabled him to thrive and enjoy his work. Tony is a twice British Black Theatre Award recipient, Alfred Fagan Black Champion and has been nominated for several of his Sound Designs.

Ting is a Sound Designer, Composer, and Theatre Maker. After graduating from drama school in 2019, she started off creating sound design for fringe theatre and quickly made her way into larger spaces. Her recent work includes Watch On The Rhine at Donmar Warehouse, My Son’s A Queer (But What Can You Do?) at Garrick Theatre, and designing the sound content for The Crucible at National Theatre. As a Theatre Maker, Ting is collaborating with practitioners from different disciplines on a few projects, with topics around cultural identity, existential crisis, eco-system, and languages. She enjoys the process of devising and is interested in exploring experimental, multi-disciplinary, and magical realistic forms. Born and bred in China, Ting studied for an MSc in Behavioural Economics in the Netherlands before moving to London. She trained at the BA(Hons) Production and Technical Arts course at LAMDA.

Paul Arditti is a sound designer working on plays and musicals. He won a Tony Award for Billy Elliot The Musical on Broadway, and has received several other Tony nominations, most recently for The Inheritance, with his co-designer Chris Reid. Amongst his other awards are four Drama Desks, two Oliviers and an Evening Standard.Following a degree in English and Drama at the University of Hull, Paul immediately started working in theatre. His design career has spanned nearly 40 years, kicking off with three years in the National Theatre’s sound department in the 80s, and eight years as Head of Sound at the Royal Court Theatre in the 90s under Stephen Daldry and later, Ian Rickson.Mostly, Paul has been freelance, with the majority of his work heard in the theatres of London and New York. Paul is a founding member of the ASD, and currently an Associate at the National Theatre.

In this episode we meet Tom Gibbons. Tom is a sound designer and composer who works predominantly in live theatre and musicals, and sometimes film. He studied for a degree in Theatre Sound at The Royal Central School of Speech and Drama before starting a career in sound design, living and working in London. Over the last ten years Tom has designed sound on projects at most of the large London theatres including the National Theatre, Young Vic and West End. During that time his work has transferred to Broadway and many European theatres, while also creating new plays and musicals on those continents. He is often associated with, and has designed shows for bold directors such as Robert Icke, Jeremy Herrin and Ivo van Hove. During his career he has been nominated for Tony, Olivier and Drama Desk awards, winning an Olivier award for People, Places and Things at the NT and West End. His home is in London, with his family and their dog.

In this first episode we talk to Melanie Wilson. Melanie is is a U.K. based multi-disciplinary performance maker. Her acclaimed work is founded on the contemporary interplay between sound art, experimental forms of composition, language and live performance. Melanie collaborates with artists and companies across theatre, film, opera and installation, creating highly crafted sound works at varying scale from main house auditoria to intimate podcasts. She is a long term collaborator with director Katie Mitchell. Melanie is currently developing a choral work that uses AI to explore the human relationship with non-human species, as part of Sound and Music's New Voices composer programme. Melanie's recent collaborations include little scratch, dir. Katie Mitchell (Hampstead Theatre: score), Unsere Zeit, dir. Simon Stone (Residenztheatre, Munich: score), Extinct, dir. Kirsty Housley (Theatre Royal Stratford East: soundtrack) Current Rising, dir. Netia Jones (ROH: libretto); Where I Go (When I Can't Be Where I Am), dir. Rachel Bagshaw (BBC Culture in Quarantine: score) and Orlando dir. Katie Mitchell (Schaubühne, Berlin: soundtrack). Melanie’s own recent work includes Women of Record (A Woman’s Place Exhibition, Knole House), Opera for the Unknown Woman (Wales Millennium Centre/UK tour) and Landscape II (Dublin Festival/UK tour). Melanie is also the Chairperson of the Association of Sound Desingers