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Award-winning composer/sound designer for theatre (plays), film, audio dramas and commercial media from Hong Kong, now currently based in London. 

 

Selected theatre credits include:

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy (Garrick West End/Apollo West End/Royal Court Jerwood Downstairs/New Diorama), My Neighbour Totoro (RSC/Barbican), Kerry Jackson (National Theatre), Minority Report (Nottingham Playhouse/Birmingham Rep/Lyric Hammersmith), The Real and Imagined History of the Elephant Man (Nottingham Playhouse/Blackpool Grand/Coventry Belgrade), TRIBE (Young Vic), The Ministry of Lesbian Affairs (Soho Theatre), The Swell (Orange Tree Theatre),  Little Baby Jesus (Orange Tree Theatre, JMK 2019),  Feral Monsters (National Theatre of Wales), Top Girls (Liverpool Everyman), NEST (Leeds 2023), Of the Cut (Young Vic), Macbeth (Leeds Playhouse), Derren Brown's Unbelievable (Criterion West End/Mercury Colchester/Manchester Palace), All Mirth and No Matter (RSC), Dziady/Forefather's Eve (Almeida Theatre), White Pearl (Royal Court Jerwood Downstairs),  Miss Julie (Chester Storyhouse), The Death of Ophelia (Shakespeare’s Globe), Funeral Flowers (UK Tour/Camden Roundhouse/Hackney Empire), Summer Rolls (Park Theatre), From Shore to Shore (Manchester Royal Exchange / UK Tour), No Man's Land (Square Chapel Halifax) and A Hundred Words for Snow (Arcola Theatre).

Selected film credits include:

Mei (Sundance 2022), Baked Beans (2022), Twitching (2022), The Fight in the Dog (2022), The Bicycle (2022), Devi (2022), IRL (2021), LAID (2021), Getting Away with Murder(s) (2021), Seafruit (2020), A Dose of Happiness (2019), Boundaries (2019), You Wouldn't Adam and Eve It (2019), Postcards from the 48% (2018) and The Perfect Dinner (2017)

Awards and nominations:​​

  • Composition/Sound Design

    • British Podcast Awards – Best Fiction Podcast: Fully Amplified (silver)

    • Evening Standard Future Theatre Fund – Audio Design (co-winner)

    • Off West-End Awards – Sound Design: Garden of Words (nominee)  

    • Off West-End Awards – Sound Design: Little Baby Jesus (nominee)

    • Off West-End Awards – Sound Design: Finishing the Picture (nominee)

    • Off West-End Awards – Sound Design: Nine Foot Nine (nominee)

  • Musical Direction

    • ​BroadwayWorld UK/West End Awards – Musical Director: The Ministry of Lesbian Affairs (nominee)

  • Performance

    • Hong Kong Percussion Centre Trophy

    • Elizabeth Verveer Tishler Prize in Music Performance

I work with a variety of theatre and dance companies, including the National Youth Ballet, British Youth Musical Theatre, National Youth Theatre, Rambert and House of Absolute. I was the Composer/Sound Designer on the 2020/21 Old Vic 12 cohort and a current BAFTA Connect Member (Film Composer).

As a theatre performer, I've played in Fantastically Great Women Who Changed the World as Assistant MD/Keys 2/Percussion, and have played in Six the Musical (West End) as deputy MD/Keys 1. I am also a former cast member of STOMP! (West End/World Tour).

 

As an orchestral percussionist, I have played with the Chineke! Orchestra, the Women of the World Orchestra and the London Film Music Orchestra and at venues such as the Royal Albert Hall, the Royal Festival Hall and the Shakespeare’s Globe.

I also work in audio plays and radio drama: I co-created the audio work Mooncake with Isabella Leung as part of 45North's "Written on the Waves" programme in 2021, and co-created Sonic Phở with Anna Nguyen in 2022. My work on the "Fully Amplified" Podcast Series for Futures Theatre was awarded Silver at the British Podcast Awards in 2022.

In 2021, I scored the short film LAID, which won Best Sci-Fi at Cannes Shorts and was an official selection at the New York Film Festival. In January 2019 I premiered my Concerto for Ping Pong and Piano Trio at the Queen Elizabeth Hall. This concerto was performed in Shanghai later in the year. In 2017, I conducted the London Film Music Orchestra playing my original soundtrack to The Perfect Dinner, accompanied by a live screening of the film. 

Photo by Finn Daragh

Press

Press

“12 theatre faces to look out for in 2020” in WhatsOnStage, 27 December 2019

https://www.whatsonstage.com/london-theatre/news/12-stage-stars-2020-important_50618.html?utm_source=twitter&utm_medium=social&utm_campaign=27december2019

Full feature in The Stage, 4 September, 2018

https://www.thestage.co.uk/features/sound-designer-nicola-chang-i-want-to-create-theatrical-experiences-for-people-who-wouldnt-usually-experience-them

"accompanied by an evocative soundtrack by Nicola Chang, time seems almost suspended. It’s a tremendous production, balancing beauty and brutality, and bringing fresh poignancy to Strindberg’s masterpiece."

★★★★★ The Stage on Miss Julie
https://www.thestage.co.uk/reviews/2020/miss-julie-review-at-storyhouse-chester-vital-timely-adaptation-of-strindbergs-play/

 

“Sound is another important factor in For Black Boys… with an inspired use of music interspersing the action. [As] a play where sound and music are a key part, sound designer and composer Nicola T. Chang brings these together remarkably, with sound also working well with the movement to bring characters back into reality.”

★★★★★ All That Dazzles on For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy

https://www.allthatdazzles.co.uk/post/review-for-black-boys-who-have-considered-suicide-when-the-hue-gets-too-heavy-apollo-theatre

“Almost like a seventh character, the significance of music in this choreopoem, really deserves a separate review”

★★★★★ Afridiziak News on For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy

http://www.afridiziak.com/reviews/for-black-boys-who-have-considered-suicide-when-the-hue-gets-too-heavy-by-ryan-calais-cameron-review/

 

“Flawless soundtrack.”

★★★★★ The Spy in the Stalls on For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy

https://thespyinthestalls.com/2022/04/for-black-boys/

“Nicola T. Chang’s sound design and music is woven into the show well”

★★★★½ Mark Aspen on For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy

https://markaspen.com/2023/04/02/black-boys/#more-14225

"Nicola T Chang’s use of sound throughout is subtle but vital to the play’s success; the use of breath to create tension matches the breaths that we did not realise we were holding."
★★★★★ Lost in Theatreland on The Swell
https://lostintheatreland.co.uk/the-swell-review-orange-tree-theatre/

 

"A tantalising vocal score (sound design by the prolific Nicola T. Chang) characterised by rich, haunting harmonies that, well, swell, conjuring the gently acknowledged ocean-side location of the play’s world. The score is not just melodic though. A sigh or gasp on stage is sometimes echoed by the other hidden voices, creating an unsettling surround-sound effect. You’ll find yourself glancing over your shoulder to see where it came from, and wondering how it sounded like it was right in your ear."
★★★★ Evening Standard on The Swell
https://www.standard.co.uk/culture/theatre/the-swell-orange-tree-theatre-review-isley-lynn-b1091239.html

 

"[The] swift transitions [are] set to really beautiful Imogen Heap-esque choral creations by Nicola T Chang."
★★★★ The Stage on The Swell
https://www.thestage.co.uk/reviews/the-swell-review-at-orange-tree-theatre-richmond-from-isley-lynn

"Great credit too, to composer Nicola T. Chang for a quite extraordinary, beautiful, haunting sound design incorporating taped music with live harmonies from the cast. A weird, otherworldly sound that gives context to the strangeness of the story."
★★★★ The Reviews Hub on The Swell
https://www.thereviewshub.com/the-swell-orange-tree-theatre-london/

"Ghostly live music composed by Nicola T Chang links scenes"
★★★★ The Guardian on The Swell
https://www.theguardian.com/stage/2023/jun/30/the-swell-review-orange-tree-theatre-london

 

"[A] soothing musical sound enhanced the onstage performance and moved the action along in a rather ethereal way"
★★★★ Mark Aspen on The Swell
https://markaspen.com/2023/06/30/swell/#more-15049

"A thoroughly convincing cast perform in an ambience greatly enhanced by composer Nicola T Chang’s music."

★★★★ The Arts Desk on The Swell

https://theartsdesk.com/theatre/swell-orange-tree-theatre-review-mind-bending-romantic-drama

"The piece is accompanied by a beautiful vocal score. Again, lively at the beginning, accompanying a fun night out scene, but increasingly more haunting. Characters offstage echo the action on stage with gasps or repeated words and the music becomes more and more melancholy... wonderful performances and an enchanting vocal score, creating a wonderful exploration of the human condition of love."
★★★★ All That Dazzles on The Swell
https://www.allthatdazzles.co.uk/post/review-the-swell-orange-tree-theatre

"Composer and co-musical director Nicola T. Chang has created, with Sinéad Rodger, a singular score of songs and motifs that haunt the edges and skies of this work. Joyous dance and recorded voices of the actors themselves (their stage selves echoing on occasion) underscore optimism, envisioning a utopia where women will legally marry."
Fringe Review on The Swell
https://fringereview.co.uk/review/fringereview-uk/2023/the-swell/

 

“Lighting and sound [are] extraordinarily well integrated  […] to an extent not always apparent in many productions. Chang, in particular, works wonders with an eerie and evocative soundscape some of which is hauntingly contributed to by the cast.”

2ndfrombottom on The Swell

https://2ndfrombottom.wordpress.com/2023/07/22/the-swell-theatre-review/

"Scenes chop in and out of the past and the present with Nicola T Chang’s specially composed music in between."
TheatreVibe on The Swell
https://theatrevibe.co.uk/2023/07/02/review-the-swell-orange-tree-2023/

"Combined with Nicola T Chang’s evocative score, Director Max Webster and his creative team adeptly transform the source material for the stage and convey a vision of the not-too-distant future.'
★★★★★ Theatre&Tonic on Minority Report
https://theatreandtonic.co.uk/blog/minority-report-uk-tour-review

"Nicola T Chang’s score and songs (worked up with Rabey) are excellent – a thrusting melange of grime, rap, pop and theatrical underscore. The melodies and performances are moving, with Hayes’s folksy lilt providing gorgeous counterpoint to the punchy rap that drives the production forward."
★★★★ The Stage on Feral Monster
https://www.thestage.co.uk/reviews/feral-monster-review-at-sherman-theatre-cardiff-by-izzy-rabey

 

"The other main star is the music. With clear influences from drum‘n’bass, hip-hop, r’n’b, garage and rock, it’s a lively, modern and eclectic mix."
★★★★ Buzz Mag on Feral Monster
https://www.buzzmag.co.uk/feral-monster-national-theatre-wales-cardiff-stage-review/

 

"A soundtrack that brilliantly weaves Bethan Marlow’s lyrics with Nicola T Chang’s grime, R&B, soul, pop and rap earworm mashups."
Entertainment South Wales on Feral Monster
https://entertainmentsouthwales.com/2024/02/21/review-feral-monster-sherman-theatre-cardiff/

"The music is an instantly engaging mixture of genres, soul, pop, grime, R&B, soul, and lots of rap, composed by Nicola T. Chang"
Arts Scene in Wales on Feral Monster
https://www.asiw.co.uk/reviews/feral-monster-national-theatre-wales-sherman-cardiff

"Nicola T Chang’s driving score evokes the 1980s setting while adding to the play’s unsettling, dreamlike atmosphere with heavily distorted samples from synth-pop hits throbbing through the scene changes."

★★★★ The Stage on Top Girls

https://www.thestage.co.uk/reviews/top-girls-review-caryl-churchill-everyman-playhouse-liverpool

"Nicola T Chang’s sound design is particularly notable in the opening moments, underscoring a war zone with a blend of pounding contemporary and Elizabethan music."
Always Time for Theatre on Macbeth
https://alwaystimefortheatre.com/2022/03/06/review-macbeth-leeds-playhouse/

 

"From the opening pre-show soundscape and first glimpse of the striking open set on the large Quarry stage, there’s a powerful sense of grandeur and spectacle, with Nicola T Chang’s filmic electronica sound design underscoring the action energetically."
British Theatre Guide on Macbeth
https://www.britishtheatreguide.info/reviews/macbeth-the-quarry-lee-20716

"A balladeer replete with rock guitar lends narration and evocatively produces the sound of a rampaging elephant, dark blues chords and a menacing rhythmic accompaniment. The soundtrack and Nicola T Chang’s score work exceptionally well."
★★★★★ Theatre&Tonic on The Real and Imagined History of the Elephant Man
https://theatreandtonic.co.uk/blog/review-the-real-amp-imagined-history-of-the-elephant-man-nottingham-playhouse

"The Real and Imagined History of the Elephant Man is one of the best, perhaps the best, staging of any play I have seen in 2023... The half-dozen strong cast is excellent in every possible respect, as indeed is Nicola T. Chang’s sensitive, well-conceived musical score"

★★★★★ Behind the Arras on The Real and Imagined History of the Elephant Man

https://www.behindthearras.com/Reviewspr/2023/reviewsPRoct-dec23/The-Real-and-Imagined-History-of-The-Elephant-Man-CB10-23.html 

“Director Stephen Bailey has assembled a brilliant team to realise a stylish, atmospheric and fully accessible production. Nicola T Chang’s moody rock score […] amps up the drama.”
The Stage on The Real and Imagined History of the Elephant Man

https://www.thestage.co.uk/reviews/the-real-and-imagined-history-of-the-elephant-man-review-at-nottingham-playhouse

"The doom laden score was like a creeping menace slithering around the foot of your seats. It almost reminded me of sections from the score of "Jeff Wayne's War Of The Worlds" where you can actually feel unease through the music."
Kev Castle Theatre Reviews on The Real and Imagined History of the Elephant Man
https://kevcastletheatrereviews.blogspot.com/2023/09/the-real-and-imagined-history-of.html

"The soundscape (by Jamie Ye and Nicola T. Chang, designer and composer respectively) is an integral part of the show."
★★★★★ Broadway World on A Playlist for the Revolution
https://www.broadwayworld.com/westend/article/Review-A-PLAYLIST-FOR-THE-REVOLUTION-Bush-Theatre-20230630

 

"The stirring use of original compositions by Nicola T. Chang to create the real highs and lows of a life protesting for what you believe in."
★★★★★ All That Dazzles on A Playlist for the Revolution
https://www.allthatdazzles.co.uk/post/review-a-playlist-for-the-revolution-bush-theatre

A special mention has to go to the flawless sound design from Nicola T. Chang and Mark Cornwell, ensuring everything was delivered and heard as planned.
All That Dazzles on Derren Brown's Unbelievable
https://www.allthatdazzles.co.uk/post/review-derren-brown-s-unbelievable-criterion-theatre

"Lighting and sound design by Natasha Chivers and Nicola Chang [...] play a huge role in creating the almost sterile nature of this "fun-loving" office."

★★★★★ Within Her Words on White Pearl

https://www.withinherwords.co.uk/home/white-pearl-by-anchuli-felicia-king

 

"Nicola Chang’s electropop interludes match the too-bright office beat for beat."

Exeunt Magazine on White Pearl

http://exeuntmagazine.com/reviews/review-white-pearl-royal-court-theatre/

 

"The technical team also satisfies the strictest spectators when it comes to lightning, music, costumes, stage management…. helping to build up the urgency of the story."

Alt A Review on White Pearl

https://alt-africa.com/2019/05/20/review-white-pearl-at-royal-court-theatre/

 

"Nicola Chang’s sound design is reminiscent of the works of Edgar Wright, including one specific Scott Pilgrim-esque moment. It’s startling just how assured it is – unforgivingly funny, rapidly paced and minutely observed."

★★★★ The Upcoming on Little Baby Jesus

https://www.theupcoming.co.uk/2019/10/23/little-baby-jesus-at-orange-tree-theatre-theatre-review/

 

"Nicola Chang's sound design [...] compliments the ebb and flow of the production, with an inventive soundtrack of loud music and subtle sound effects."

★★★★ Broadway World on Little Baby Jesus

https://www.broadwayworld.com/westend/article/BWW-Review-LITTLE-BABY-JESUS-Orange-Tree-Theatre-20191023

“Nicola Chang’s choice sound effects are a delight – little pings, zings, and boings, all bouncing off various actions like comic book onomatopoeia. It’s all gorgeously playful, refreshingly ready to entertain.”

Exeunt Magazine on Little Baby Jesus

https://exeuntmagazine.com/reviews/review-little-baby-jesus-orange-tree-theatre/

"Cleverly-worked, grating jazz-based sound design from Nicola Chang."

★★★★★ ActDrop on Finishing the Picture

https://actdrop.uk/reviews/review_listing?id=6430

"The ultimate elevation of the show comes in the shape of sound designer Nicola Chang, who sets the second act to a jazz tune."

★★★★ Broadway World on Finishing the Picture

https://www.broadwayworld.com/westend/article/BWW-Review-FINISHING-THE-PICTURE-Finborough-Theatre-20180615

"... the almost visionary second half comprises a series of duets for voice and jazz combo. The sax in sound designer Nicola Chang’s unsettling jazz track rises to hysterical crescendos, conjuring Kitty fighting her corner."

★★★★ The Jewish Renaissance on Finishing the Picture

http://www.jewishrenaissance.org.uk/blog/reviews-theatre-finishing-the-picture

"...the second act propels Finishing the Picture into another league. Essentially a series of monologues with each character attempting to converse with Kitty, a pulsating cymbal jazz beat from sound designer Nicola Chang brings with it a sense of urgency, the occasional trumpet howl substituting for cries of despair from the unseen Kitty."

★★★★ The Reviews Hub on Finishing the Picture

https://www.thereviewshub.com/finishing-the-picture-finborough-theatre-london/

"Her responses are conveyed through the anarchic riffs of an expressive sax behind which a hectic snare skits to hepped-up time. Its effect is unsettling and submerges the audience in the frantic rhythms of Kitty’s own mental whir – something words alone can’t quite convey."

★★★★ The Arts Desk on Finishing the Picture

https://theartsdesk.com/theatre/finishing-picture-finborough-theatre-review-projections-realm-mirrors

"Sound (is) used exceptionally well during the second act. Throughout the delivery of the monologues, a high tempo, almost manic, jazz piece plays, conveying a sense of urgency."

★★★★ The Spy in the Stalls on Finishing the Picture

https://thespyinthestalls.com/2018/06/finishing-the-picture-finborough-theatre/

"A skilful use of music and sound."

★★★★ The Express on Finishing the Picture

https://www.express.co.uk/entertainment/theatre/978894/theatre-reviews-prime-miss-jean-brodie-finishing-picture

 

"(The) production becomes more interesting in the second act, in which the red walls take on the mood of a madhouse and Nicola Chang’s discordant sound design speaks on Kitty’s behalf in response to her colleagues’ attempts to reason with her."

The Stage on Finishing the Picture

https://www.thestage.co.uk/reviews/2018/arthur-miller-finishing-picture-review-finborough-theatre-london/

"Sound designer Nicola T Chang creates an absorbing soundscape of pouring rain, muttering voices and cawing crows."

The Stage on The Garden of Words

https://www.thestage.co.uk/reviews/the-garden-of-words-review-starring-hiroki-berrecloth-park-theatre-london

"The sound design from Nicola T. Chang [soothes] the soul, its ethereal soundscape otherworldly, retaining the play's cinematic sense of possibility."
Henry Longstaff/Longstaff Reviews on The Garden of Words
https://www.longstaffreviews.co.uk/the-garden-of-words-park-theatre

"The sound design, by Nicola T. Chang, [is] gorgeous."
Lost in Theatre Land on The Garden of Words
https://lostintheatreland.co.uk/the-garden-of-words-review-edinburgh-fringe/

"Further bolstered by  [...] the aural panorama of Nicola T Chang’s sound design [...] Tokyo itself becomes the show’s most fully realised character, reproduced on stage like a heightened memory."
Time Out London on The Garden of Words
https://www.timeout.com/london/theatre/the-garden-of-words-review

 

"Nicola T. Chang’s sound design [creates] an otherness that sends us to another place without losing its connection with the real world."
Broadway World on The Garden of Words
https://www.broadwayworld.com/westend/article/Review-THE-GARDEN-OF-WORDS-Park-Theatre-20230816

 

"Nicola T Chang’s [subtly expressive] sound design [gives] a real sense of a teeming metropolis tempest-tossed with potential loss."
London Theatre on The Garden of Words
https://www.londontheatre.co.uk/reviews/the-garden-of-words-review-park-theatre

"Sound design from Nicola T. Chang [creates] a production that feels atmospheric and almost immersive in quality, thanks to its intimate nature."
All That Dazzles on The Garden of Words
https://www.allthatdazzles.co.uk/post/review-the-garden-of-words-park-theatre

"The idea of a rain-soaked Japanese garden was executed superbly... [with] the sound design by Nicola T. Chang, one really felt transported in those certain garden scenes."
A Youngish Perspective on The Garden of Words
https://ayoungishperspective.co.uk/2023/08/17/review-the-garden-of-words/

 

"Nicola Chang's Sound Design crossed with Sundeep Saini's Choreography, was an absolute mastermind spectacular..."
★★★★★ Creative Reviews UK on Squad Goals
https://creativereviewsuk.blogspot.com/2020/09/thestre-review-squad-goals.html?m=1

"The technical aspects of the play are spot on, too. The lighting, sound and set are so cleverly pieced together to string separate snippets of a family’s life that the general public are rarely exposed to."

★★★★★ The Feminist Fringe on Dangerous Giant Animals

https://feministfringereviews.wordpress.com/2018/08/22/review-dangerous-giant-animals-amy-king/

“The performance is creatively, musically and soundly immersive.”

★★★★ Fairy Powered Productions on NEST (Leeds 2023)

https://fairypoweredproductions.com/nest-review/

"[...] accompanied by music composed by Nicola T. Chang, it really is a visually stunning show."
★★★★ The Reviews Hub on NEST (Leeds 2023)
https://www.thereviewshub.com/nest-rspb-st-aidans-nature-reserve-leeds/

“The soundscape contributed efficiently to the atmosphere of anxiety [...] the show was aiming for. Mostly consisting of disjointed noise and recycled train announcements it was a small but hugely beneficial addition. The sound design in many ways leads to the gradual unravelling of the story, providing insight into the story’s geography as well as the state of Harper’s character’s mind.”

★★★★★ London Student on Rattled

http://londonstudent.coop/rattled-at-the-old-red-lion-theatre-a-harrowing-but-sensational-work-of-art/

 

"Sound design from Nicola Chang ebbs and flows with the story..."

★★★★★ London Pub Theatres on Rattled

http://www.londonpubtheatres.com/rattled-review/4594548124

"The two actors work well to maintain the sinister atmosphere, helped by the foreboding sound design."

★★★★ ½ The Reviews Hub on Kompromat

https://www.thereviewshub.com/kompromat-the-vaults-london/

 

"Nicola Chang (Composer and Sound Designer) has a strong influence on proceedings, helping a stage with essentially no set or props to feel full and greatly atmospheric at the appropriate times. The music works well to give the feel of the change in setting and character for each actress."

Mark Aspen on 10

https://markaspen.wordpress.com/2019/03/19/10/

 

“Nastazja Somers’ production is high on atmosphere, Nicola Chang’s almost hypnotic sound design moulding the mood.”

★★★★ There Ought to be Clowns on 10

https://www.oughttobeclowns.com/2019/03/review-10-vault-festival.html/

"Director Nastazja Somers has created a strong framework on which to base the strands of the women’s stories and the music, sound and lighting, by Nicola Chang and Rajiv Pattani, support and complement the action beautifully."

​★★★★ The Spy in the Stalls on 10

https://thespyinthestalls.com/2019/03/10/

"[...]  moving acoustic score by Nicola Chang compliments the emotional weight of the short perfectly."

★★★★ UK Film Review on Mei

https://www.ukfilmreview.co.uk/post/mei-2022-short-film-review

"Nicola Chang's original music is simply extraordinary, a quiet companion to an intimate story and one that surrounds us as we travel along Mei's journey. It's the kind of score that makes you anxious to hear other work by Chang."
The Independent Critic on Mei
https://theindependentcritic.com/mei

"Beautifully directed by Bethany Pitts, the exuberant tennis match conversations are balanced against beats of silence and lively music by Nicola T Chang."
★★★★ The Guardian on Juniper and Jules
https://www.theguardian.com/stage/2022/may/09/juniper-and-jules-review-this-funny-and-sweet-romance-is-a-must-see

 

"Sound by Nicola T Chang is key in giving the pace a [...] kick at times."
Broadway World on Juniper and Jules
https://www.broadwayworld.com/westend/article/BWW-Review-JUNIPER-AND-JULES-at-Soho-Theatre-20220506

 

"Nicola T Chang’s sound design spins the songs... into more richly textured versions for the transitions."
The Stage on Ministry of Lesbian Affairs
https://www.thestage.co.uk/reviews/the-ministry-of-lesbian-affairs-soho-theatre-london-iman-qureshi-review

"Nicola Chang’s sound design works well to immerse the audience within the lives of the characters, a mix of club and grime songs dominating some scenes and gently underscoring others."

★★★★★ Within Her Words on If This is Normal

withinherwords.co.uk/post/if-this-is-normal-presented-by-chatback-theatre?fbclid=IwAR0DyVftaWGL75dZT-5OWY6Z0YRrzO-rheg12XJrI1G7MLHIv_O2a82pzQo

 

"Loud conversation is accompanied by competingly loud sounds and music..., [which] capture the mood of different scenes remarkably well and is incredibly evocative."

★★★★ The Spy in the Stalls on If This is Normal

https://thespyinthestalls.com/2020/02/if-this-is-normal/

"It’s a great experience, wonderfully enhanced by the evocative soundscapes of Nicola T. Chang who seems to be the “go to” person forthis type of thing."
2ndfrombottom on Attack of the Wolfdogs
https://2ndfrombottom.wordpress.com/2021/12/09/attack-of-the-wolfdogs-online-review/

“Nicola Chang’s evocative soundscapes are a major success point in all three pieces; they help the listener’s imagination to take flight and demonstrate the power of aural memories.”
★★★★ 2ndfromBottom on Digital Caravan Theatre Series
https://2ndfrombottom.wordpress.com/2020/10/19/digital-caravan-theatre-series-2-online-review/

"An undoubted success, though, is the always creative sound design of Nicola Chang who often makes these pieces sing."

2ndfromBottom on Digital Caravan Theatre - Our Voices Series

https://2ndfrombottom.wordpress.com/2023/01/20/our-voices-review/

"Nicola Chang [contributes] her usual clever soundscape for the company which really enhances the experience."
2ndfromBottom on The Emperor’s New Clothes
https://2ndfrombottom.wordpress.com/2020/12/15/a-christmas-carol-the-emperors-new-clothes-online-review/

"The sound design by Nicola Chang is highly evocative through all three pieces."
2ndfromBottom on Digital Caravan Theatre Series 1
https://2ndfrombottom.wordpress.com/2020/08/21/digital-caravan-theatre-online-review/

"All three episodes are worth attention and have cleverly used a new format to engage the listener fuelled by the impeccable sound design of Nicola Chang."
2ndfromBottom on Fully Amplified Podcast Series
https://2ndfrombottom.wordpress.com/2021/10/05/fully-amplified-1-online-review/

"There's a first-rate soundscape from designer Nicola Chang that appropriately underscores the piece, progressing from an almost imperceptible hum that builds in line with Ashley's anxiety and Ollie's excitement and, later, anger."

★★★★ ActDrop on Germ Free Adolescent

https://actdrop.uk/reviews/review_listing?id=8767

 

“Nicola Chang's sound design offers a pulsating background drone that works well in drawing us into the world of teenage angst that Mitchell has established.”

Broadway World on Germ Free Adolescent

https://www.broadwayworld.com/westend/article/BWW-Review-GERM-FREE-ADOLESCENT-The-Bunker-20191103

 

"There is a beautiful uniqueness to Tuyen Do’s play. It is full of Vietnamese expressions and culture (...) elevated by the stunning set by Moi Tran and sound by Nicola Chang."

★★★★ The Upcoming on Summer Rolls

https://www.theupcoming.co.uk/2019/06/25/summer-rolls-at-park-theatre-theatre-review/

 

"Nicola Chang’s sound design captures both cultures in her evocative score."

The Gizzle Review on Summer Rolls

http://www.thegizzlereview.com/2019/06/summer-rolls-park-theatre.html

 

"Nicola Chang’s sound design is fluid, unifying and atmospheric, conveying both the mood of Vietnamese culture and the tension of the scenes."

A Younger Theatre on Summer Rolls

https://www.ayoungertheatre.com/review-summer-rolls-bristol-old-vic/

 

"Sound designer Nicola Chang creates a telling mix of Vietnamese pop and evocative instrumentation."

The Arts Desk on Summer Rolls

https://theartsdesk.com/theatre/summer-rolls-park-theatre-review-racism-laid-bare-mixed-results

​"Nicola Chang amps up the underlying anxiety with an assertive sound design that accompanies the couple through all the signs of toxic co-dependency and emotional abuse."

★★★★ Broadway World on Starved

https://www.broadwayworld.com/westend/article/BWW-Review-STARVED-The-Hope-Theatre-20190719

 

“The space is dingy and claustrophobic. Nicola Chang provides a dull, ominous underscore that plays throughout, adding to the anxiety.”

★★★★ The Crumb on Starved

https://www.the-crumb.com/post/review-starved-the-hope-theatre

 

"Strong movement direction (...) underscored by Nicola Chang’s resonant slow-tempo sound design, beautifully illustrate(s) the passage of time"

The Stage on Starved

https://www.thestage.co.uk/reviews/2019/starved-review-hope-theatre/

 

"The acting space (is) made vibrant by Nicola Chang’s pounding score."

★★★★ Musical Theatre Review on No Man's Land

http://musicaltheatrereview.com/no-mans-land-youth-music-theatre-uk-square-chapel-arts-centre-halifax/

"Stupendous sound design from Nicola Chang evoke(s) a world changing out of all recognition."

★★★★ The Wee Review on Nine Foot Nine

https://theweereview.com/review/nine-foot-nine/

 

“Nicola Chang’s brilliant sound design effectively [...] conveys magnitude [...] providing context to global events happening outside the play’s narrative, which is focused on a singular family.”

The Play's the Thing on Nine Foot Nine

https://theplaysthething.co.uk/2019/07/03/nine-foot-nine-home-manchester-theatre/

"The... impressive lighting and sound (from Ben Jacobs and Nicola Chang respectively) transforms an essentially empty stage into something incredibly atmospheric and menacing."

★★★★ Stage Review on Lord of the Flies

http://www.stagereview.co.uk/theatre-review/lord-of-the-flies-review-2/

"This stage adaptation of Lord of the Flies is made emotional and thought-provoking by the unified strength of the performances, music, lighting and choreography."

★★★★ Everything Theatre on Lord of the Flies

http://everything-theatre.co.uk/2018/03/lord-of-the-flies-greenwich-theatre-review.html

"Mention must also be given to Nicola Chang’s smart, appropriate and seriously atmospheric sound design."

★★★★ The Review Chap on An Enemy of the People

https://www.thereviewchap.blogspot.com.thereviewchap.com/2019/01/an-enemy-of-people-essential-experience.html?spref=tw

“Nicola Chang (provides) the scarily authentic soundtrack of angry townsfolk at that public meeting.”

★★★★ The Jewish Renaissance on An Enemy of the People

https://www.jewishrenaissance.org.uk/blog/an-enemy-of-the-people​

 

“Nicola T Chang’s sound design is […] stunning and perfectly executed, timed perfectly to make slick transitions. There is a consistent style of music and sound throughout and locations of clubs and cafés are suggested purely through its use.”

★★★★ A Younger Theatre on Andromeda

https://www.ayoungertheatre.com/review-andromeda-camden-peoples-theatre/

"With a brilliant underscore permeating every moment of the show and well-timed moments of both beauty and horror, this show is far from poisoned; its salubrious."

★★★★ Pocket Size Theatre on Poisoned Polluted

http://www.pocketsizetheatre.com/2019/11/review-poisoned-polluted-at-old-red-lion.html?m=1

 

"Sound (Nicola Chang) was very well designed and congruous with the performance. On the whole, theatrical components were more than satisfactory."

Theatre Reviewer Blog on Poisoned Polluted

https://theatrereviewerblog.wordpress.com/2019/11/11/review-poisoned-polluted-old-red-lion-theatre-london/

 

"Composer and celebrated sound designer Nicola T Chang ensures the sound really is seamless as well as boppy, proportioned to the space.”
FringeReview on 30 and Out
http://fringereview.co.uk/review/brighton-fringe/2023/30-and-out/

"As usual the sound design by Nicola Chang is exceptional. At first you don’t notice how she regulates the intensity of street noise outside the hotel window to help ratchet up the tension but, half way through, her chillingly ominous door locking sound is the first indication we get that this isn’t just two guys chatting about writer’s block and nice clothes."

London Box Office on For Reasons that Remain Unclear

https://www.londonboxoffice.co.uk/news/post/review-for-reasons-that-remain-unclear

“Nicola Chang’s sound design is piercing and unforgiving. Combined with Will Monks’ sharp projections on a pane of glass, they create a

sense of a society at breaking point."

The Stage on The Glass Will Shatter

https://www.thestage.co.uk/reviews/the-glass-will-shatter-review-at-omnibus-theatre-london--shines-in-its-quieter-moments

 

"Nicola T Chang’s sound design, a low mechanical hum interrupted by persistent percussive beats, adds tension in just the right places."

The Reviews Hub on Worth

https://www.thereviewshub.com/worth-arcola-theatre-london/

"The siblings’ emotionally violent underpinnings are more effectively underlined by brief moments in which the sound rises and distorts."
The Times on Worth
https://www.thetimes.co.uk/article/worth-review-a-dark-family-comedy-turns-toxic-3sz0qxhtw

"Nicola Chang’s sound design had me on edge in places, really reinforcing the experience we are seeing on stage"

View from the Outside on The Glass Will Shatter

https://viewfromtheoutside.blog/2020/01/29/the-glass-will-shatter-at-the-omnibus-theatre/

“A singular drum and a piercing train whistle [reach] crescendo during the play's emotional climaxes… Nicola Chang's deft sound design has much to offer.”

WhatsOnStage on The King of Hell’s Palace

https://www.whatsonstage.com/london-theatre/reviews/hells-palace-hampstead-cowhig_49886.html

 

"Nicola Chang’s sound design [is] subtle and sophisticated"

ThisWeek Culture on Algorithms

https://threeweeksedinburgh.com/article/algorithms-sadie-clark-laura-elmes-productions/

 

"The intensity of Felicity’s panic attacks is infectiously communicated through Nicola Chang’s sound design, an unsettling soundscape of buzzing, clicking, whispering and ring tones."

BritishTheatre.com on Lost in Thought

https://britishtheatre.com/review-lost-in-thought-edinburgh-fringe/

"Augmented by […] Nicola T Chang’s sound, the show becomes a disorienting echo of the post-traumatic stress disorder Beecher had to deal with."

The Stage on Summer Camp for Broken People

https://www.thestage.co.uk/reviews/summer-camp-for-broken-people-review-summerhall-emily-beecher

"The fusion of American and Indian cultures [...] seeps through Nicola Chang’s sound design"

Miro Magazine on There or Here

http://www.miromagazine.com/theatre/review-park-theatre-nayak/

ON PERFORMANCE

"Chang even [took] to the stage for a dazzling display of percussive pyrotechnics."

★★★★★ Musical Theatre Review on Fantastically Great Women Who Changed the World

https://musicaltheatrereview.com/fantastically-great-women-who-changed-the-world-mast-mayflower-studios-southampton-and-touring/

 

"One memorable sequence sees the cast form a drumming ensemble, featuring energetic fills from band member Nicola T Chang."

The Stage on Fantastically Great Women Who Changed the World

https://www.thestage.co.uk/reviews/fantastically-great-women-who-changed-the-world-chris-bush-miranda-cooper-review

 

"We enjoyed Chang’s scene-stealing moment as she took centre stage for a very Stomp-inspired let there be drums moment."

Monstagigz on Fantastically Great Women Who Changed the World

https://monstagigz.com/2022/06/18/theatre-review-fantastically-great-women-who-changed-the-world-at-theatre-royal-stratford-east/comment-page-1/

 

"Wonderfully vibrant percussionist Nicola T. Chang drum[s] on just about everything that they can find. The number is positively Stomp-esque which is no wonder given Chang’s pedigree in that particular show, her enthusiasm is infectious."

Dress Circle Antics on Fantastically Great Women Who Changed the World

https://dresscircleantics.co.uk/review-fantastically-great-women-who-changed-the-world-oodles-of-potential/

“There is a show-stopping number [...] which tears up the boards and features a barnstorming drum-break, led by Nicola T. Chang.”

Quays Life on Fantastically Great Women Who Changed the World

https://quayslife.com/reviews/fantastically-great-women-who-changed-the-world-review-2/

Credits/Upcoming Projects (updated January 2024)

Credits

Selected Credits

Killology (Spielhaus, Frankfurt)

Macbeth (Leeds Playhouse)

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy

by Ryan Calais Cameron (Garrick Theatre, West End)

Feral Monsters by Bethan Marlow (National Theatre of Wales/UK Tour)

Minority Report (Nottingham Playhouse/Birmingham Rep/Lyric Hammersmith)

My Neighbour Totoro (RSC/Barbican)

TRIBE by Ronkẹ Adékọluẹ́jọ́ and Company (Young Vic Theatre)

The Real and Imagined History of the Elephant Man by Tom Wright (Peter Hall Award/Nottingham Playhouse)

NEST by Emma Nuttall and NYT (LEEDS 2023)

Unbelievable by Derren Brown, Andrew O'Connor and Andy Nyman

(Mercury Colchester, Manchester Palace and Criterion West End)

The Swell by Isley Lynn (Orange Tree Theatre, London)

A Playlist for the Revolution by AJ Yi (Bush Theatre, London)

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy

by Ryan Calais Cameron (Apollo Theatre, West End)

Top Girls (Liverpool Everyman)

Sound of the Underground (Jerwood Downstairs, Royal Court)

Kerry Jackson by April De Angelis (Dorfman Theatre, National Theatre)

My Neighbour Totoro (RSC/Barbican)

Of the Cut by Yasmin Joseph & Company (Young Vic Theatre)

The Ministry of Lesbian Affairs by Iman Qureshi (Main House, Soho Theatre)

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy

by Ryan Calais Cameron (Jerwood Downstairs, Royal Court)

Macbeth (Leeds Playhouse, Leeds)

All Mirth and No Matter (RSC)

Dziady/Forefather’s Eve by Adam Mickiewicz (Almeida Theatre)

Fake Melania by Poppy Corbett (Old Vic 12 @ Shoreditch Town Hall)

Jineolojî by Nessah Muthy (Old Vic 12 @ Shoreditch Town Hall)

Gobble Gobble Gobble Gobble Gobble Goblin by Tim Foley (Old Vic 12 @ Shoreditch Town Hall)

Miss Julie adapted by Amy Ng (Chester Storyhouse)

Funeral Flowers by Emma Dennis-Edwards (Roundhouse Camden/Hackney Empire)

Wild Goose Dreams by Hansol Jung (The Ustinov, Theatre Royal Bath)

Little Baby Jesus by Arinzé Kene (Orange Tree Theatre)

The Ice Cream Boys by Gail Luow (Jermyn Street Theatre)

The King of Hell’s Palace by Frances Ya-Chu Cowhig (Hampstead Theatre)

Algorithms by Sadie Clark (Soho Theatre, London; Pleasance Edinburgh Fringe)

Death of Ophelia by Stanislaw Wyspianski (Shakespeare’s Globe)

Summer Rolls by Tuyen Do (Park Theatre, London; Bristol Old Vic)

White Pearl by Anchuli Felicia King (Jerwood Main Theatre, Royal Court)

The Tempest by William Shakespeare (Orange Tree Theatre)

Director: Helena Jackson

Director: Amy Leach

Directors: Ryan Calais Cameron &       Tristan Fynn-Aiduenu

Director: Izzy Rabey

Director: Max Webster

Director: Phelim McDermott

Director: TD Moyo

Director: Stephen Bailey

-

Director: Paul Roseby

Directors: Derren Brown, Andrew O'Connor and Andy Nyman

Director: Hannah Hauer-King

Director: Emily Ling Williams

Directors: Ryan Calais Cameron &       Tristan Fynn-Aiduenu

Director: Suba Das

Director: Debbie Hannan

Director: Indhu Rubasingham

Director: Phelim McDermott

Director: Philip J. Morris

Director: Hannah Hauer-King

Directors: Ryan Calais Cameron &       Tristan Fynn-Aiduenu

Director: Amy Leach

Director: Aaron Parsons

Director: Nastazja Domaradzka

Director: Hannah Joss

Director: Milli Bhatia

Director: Maddy Moore

Director: Dadiow Lin

Director: Jessica Edwards

Director: Michael Boyd

Director: Tristan Fynn-Aiduenu

Director: Vik Sivalingam

Director: Michael Boyd

Director: Maddy Moore

Director: Nastazja Domaradzka

Director: Kristine Landon-Smith

Director: Nana Dakin

Director: Imogen Bond

June 2024

March 2024

March 2024

-

Jan - March 2024

Jan - March 2024

November 2023

Oct 2023

Aug/Sep 2023

-

August 2023

August 2023

-

June 2023

June 2023

March/April 2023

-

Feb/March 2023

Jan 2023

Nov/Dec 2022

Sept/Oct 2022

July/August 2022

April/May 2022

March/April 2022

-

Feb/March 2022

July 2021

May 2021

April 2021

March 2021

March 2021

Jan/Feb 2020

January 2020

Oct/Nov 2019

October 2019

Sep/Oct 2019

Aug/Sep 2019

July 2019

July 2019

June 2019

June 2019

April/May 2019

Other Credits

Garden of Words adapted by Whole Hog Theatre (Park Theatre, London)

Summer Camp for Broken People by Emily Beecher (Pleasance Theatre/Edinburgh Fringe)

30 and Out by Kit Sinclair (Brighton Fringe/Edinburgh Fringe)

DNA by Atiha Sen Gupta and Tara Theatre Young Company (Tara Theatre, London)

Worth by Joanne Lau (Arcola Theatre, London/Chester Storyhouse)

If Only You Knew by Wendy Wong

Echo Land by Tuyet Van Huynh, Natalie Linh Bolderston and Daniel Phung (Rich Mix)

What’s in Your Head by Young Vic Neighbour Theatre

A Hymn to Creativity by Young Vic Neighbourhood Theatre

Home by Abi Zakarian (Caravan Theatre Our Voices Project)

Finding Polly by Emma Dennis-Edwards (Caravan Theatre Our Voices Project)

Chicken Shop Love by Tanya Loretta Dee (Caravan Theatre Our Voices Project)

Pieces by Lilly Driscoll (Caravan Theatre Our Voices Project)

A Hymn to Creativity with Young Vic Taking Part

harmony· 天人合一 (Pleasance Futures Festival)

Taking Part: Social Issues Podcast by Young Vic Neighbourhood Theatre

Theatre Royal Stratford East Future Leaders Project

Slippy Maggie by Miranda Langley

Stories from the Stalls by Young Vic Neighbour Theatre

-

Digital Greeks by E.V. Crowe, Vanessa Kisuule & Alexandra Wood (Unicorn Theatre)

Yoga for the Feet by Tilly Lunken

work, harmony (天人合一) (Royal Victoria Dock)

Sonic Phở by Anna Nguyen

DOLLY by Chantelle Dusette (Park Theatre, London)

Baked Beans by Sid Sagar (BFI Network Short Film Slate)

Mei by Barbara Vonau, Cat Watson and Leanne Bailham

My Brother’s Keeper by Tobore Dafiaga

Juniper & Jules by Stephanie Martin (Soho Theatre Upstairs, London)

The Fight in the Dog (Royal Academy of Dramatic Art)

Bicycle (Royal Academy of Dramatic Art)

Sermons of the Sea by Julia Cheng and Leeroy New (Somerset House, London)

Devi देवी by Hannah Kumari (Sky Arts Unlocked)

Donmar Warehouse Take the Stage: Force Majeure with UCL Academy School

Twitching by Maddy Moore

Level Up with Rambert Young Company

Fracture Mechanics by Hester Styles Vickery

I am Bird by Marie Klimis (Farnham Maltings)

We Are Shadows – Liverpool Chinatown (Tamasha Theatre Company)

When This is Over (Company Three/Unicorn Theatre, London)

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy

by Ryan Calais Cameron (New Diorama Theatre, London)

Anti-metropolis by Tallulah Howarth

Summer of Love (Hightide Theatre Company)

Andromeda by Hannah Greenstreet (Camden People’s Theatre, London)

Attack of the Wolfdogs by Nigel Barret, Louise Mari and Nicola T. Chang (Unicorn Theatre)

Still Gay As Hell by babirye bukilwa

Black Mermaids by Tanya Loretta Dee

When Two Armenians Meet by Abi Zakarian

Not Just Two People in Love by Marinella Mezzanotte

Waiting For an Excuse to Turn by Ava Wong Davies

Mooncake by Nicola T. Chang and Isabella Leung (45 North)

V&V by Misha Pinnington (Omnibus Theatre)

Omnibus Young Company (Omnibus Theatre)

All the Things by DK Fashola (Arts Ed, London)

Second Hand Child by Rebecca Solomon (Sheffield Crucible)

In Her Strength presented by Vicky Moran and Claire Gilbert (Camden People’s Theatre)

Macbeth by William Shakespeare (Orange Tree Theatre, London)

Romeo and Juliet by William Shakespeare (Orange Tree Theatre, London)

Fib by Annie Williams

Curse of the Crackles by Bea Roberts (Shoreditch Town Hall) - assistant to Ben Ringham

IRL by Katie Bonna (Royal Academy of Dramatic Art)

Chang and Eng and Me (and Me) by Tobi Poster-Su

Deborah by Maud Dromgoole

LAID by Bernadette Davis (RADA)

The Emperor's New Clothes (an Unfairytale) by Olivia Mace

The Panto-logues by Rachel Barnett-Jones

Behind Closed Doors by 27 Degrees (Harrow Arts Centre)

MACBETH (Central School of Speech and Drama)

SUBURBS (Central School of Speech and Drama)

Wow! I Feel Nothing by Nicola Maclean

Belly of the Wolf by Alexandra Wood

Oenone to Paris by Lettie Precious (“15 Heroines” at Jermyn Street Theatre)

Deianaria by April De Angelis (“15 Heroines” at Jermyn Street Theatre)

Will You? By Sabrina Mahfouz (“15 Heroines” at Jermyn Street Theatre)

Hypermnestra by Chinonyerem Odimba (“15 Heroines” at Jermyn Street Theatre)

Pity the Monster by Timberlake Wertenbaker (“15 Heroines” at Jermyn Street Theatre)

Medea by Juliet Gilkes Romero (part of “15 Heroines” at Jermyn Street Theatre)

water by babirye bukilwa

RAGE by Chloe Todd Fordham

A Few Minutes with Ruth Belville (and Rose) by Jessica Butcher

White Lies by Tom Wright (Arts Ed, London)

Sirens by Tom Wright (Arts Ed, London)

Squad Goals by Michelle Payne (Dagenham and Redbridge FC Football Stadium)

English National Youth Ballet Choreographic Competition

Clapped by Abi Zakarian (Giffin Square, Deptford, Lewisham)

September Skies by Jessica Butcher

Enough by Abi Zakarian

Spirit of Carnival by Emma Dennis-Edwards

Circle Game by Sophie Swithinbank

Fear & Misery of the Third Reich by Berthold Brecht (OSD Showcase, Playground Theatre)

Moment of Grace by Bren Gosling

WeRNotVirus by Moongate Productions (Omnibus Theatre, London)

MONSTER by Jack Whitney

MUM by Juliet Cowan (Playground Theatre, London)

Invisibles by Lola Lagos (VAULT Festival 2020)

Freedom High 自由閪 (VAULT Festival 2020)

V&V by Misha Pinnington (VAULT Festival 2020)

If This is Normal by Lucy Danser (VAULT Festival 2020)

Spy Plays by David Thame (Above the Stag Theatre, Vauxhall London)

Overheard by Joel Tan (Chinese Arts Now Festival)

Vegan Gluten Free by Lucia Tong (Soho Theatre)

Hidden in Screen 无形的和谐 by Daniel York Loh (Purcell Room, Southbank Centre)

Tin Hau Temple 天后廟 Promotional Video for JA Design Architects Ltd.

Seafruit by Alexander Darby

The Glass Will Shatter by Joe Marsh (Omnibus Theatre, Clapham)

Fracture/d Frame/s by Motion Dance Collective

Getting Away with Murder by David Wilkinson

Poisoned Polluted by Kathryn O’Reilly (Old Red Lion Theatre, London)

Germ Free Adolescent by Natalie Mitchell (Bunker Theatre, London)

Concerto for Ping-Pong and Piano Trio (International Ping Pong Festival, Shanghai, China)

Kensington Karavan Short Play Festival by Small Truth Theatre

ANAHERA by Emma Kinane (Finborough Theatre, London)

Collapsing Creation by Arthur Meek (Brockley Jack Theatre)

Extinction – BYMTUK Dance Connections 5 (Rhoda McGaw Theatre)

If This is Normal by Lucy Danser (Zoo Venues, Edinburgh Fringe)

Starved by Michael Black (Hope Theatre, London)

Wonder Winterland by Sami Ibrahim (OSD Showcase at Soho Theatre)

Wherever You Find Me by NoFixdAddress (Actor’s Centre, London)

Trying to Find Me by Ann Akin (PULSE Festival/Latitude)

Boundaries by Danielle Saunders

You Wouldn’t Adam and Eve It by Lauren Rutherford

Pool (no water) by Mark Ravenhill (OSD Showcase at the Royal Court)

Lord of the Flies by William Golding (Greenwich Theatre, London)

10 by Lizzie Milton (VAULT Festival 2019)

Dangerous Giant Animals by Christina Murdock (VAULT Festival 2019)

CEEC by Lemon Animatic for China Energy Engineering Corporation

From Shore to Shore by Mary Cooper (Manchester Royal Exchange/UK Tour)

RATTLED by Rachel Harper (Old Red Lion Theatre, London)

Pool (no water) by Mark Ravenhill (Oxford School of Drama)

The Moon is Warmer than the Sun by Whiskey Chow (Artsadmin, London)

Inside Voices by Nabilah Said (VAULT Festival 2019)

Juniper and Jules by Stephanie Martin (VAULT Festival 2019)

Kompromat by David Thame (VAULT Festival 2019)

Bounce Beat (Queen Elizabeth Hall, Southbank Centre)

Just Shenzhen by Lemon Animatic for Shenzhen Government

An Enemy of the People by Arthur Miller (Union Theatre, London)

The Snow Queen by The Theatre Shed Community Theatre

All That Scratch by Alex Jackson and Charlie Norburn (The Other Palace)

How to Bury Your Sins by Jessica Martin

Beauty and the Beast by Robyn Grant & Daniel Elliot (King’s Head Theatre)

High Ridin' by James Hogan (King's Head Theatre, London)

Pomegranate Season by Victoria Cano (Cockpit Theatre, London)

No Man’s Land – BYMTUK Dance Connections 4 (Square Chapel, Halifax)

Lost in Thought by Lucy Danser (Edinburgh Underbelly; Theatre 503)

For Reasons that Remain Unclear by Mart Crowley (King’s Head Theatre)

Dosa Shtastie [A Dose of Happiness] by Yana Titova

Dangerous Giant Animals by Christina Murdock (Tristan Bates Theatre, Edinburgh Fringe)

Free and Proud by Charles Gershman (King’s Head Theatre, Edinburgh Fringe)

Kensington’s Game Changer by SPID Theatre Company

Static by Tiiu Mortley (Talawa Firsts, Rich Mix)

Finishing the Picture by Arthur Miller (Finborough Theatre, London)

Fight Night by Giorgio Miroflor

Nine Foot Nine by Alex Wood (Bunker Theatre, Edinburgh Assembly)

The Free9 by In-Sook Chappell (National Theatre, London)

#metoo by Maris Salumets (Mix30, New York City)

Nyctophobia by Saurabh Fuke

Tom and Bunny Save the World by Fat Rascal Theatre

The Lord of the Flies by William Golding (Greenwich Theatre)

Postcards from the 48% by David Wilkinson

Breakfast with the Boss by Vox Media

There or Here by Jennifer Maisel (Park Theatre, London)

Dean by Sonya Hale (Arcola Theatre, London)

A Hundred Words for Snow by Tatty Hennessy (Arcola Theatre, London)

Woman Caught Unaware by Annie Fox (Arcola Theatre, London)

Strike It Lucky by Charlotte Griffiths

The Bullhorn Evangelist by Philip Holt (Stockwell Playhouse)

The Bearded Bloke by Danielus Gedvilas

Always Chasing Love by Jadolphus Fraser

Hole by Joe Belzberg

Lodgers by eCinema Live

The Community by Gaël van den Bossche (Lion and Unicorn Theatre)

Man Friday by Grey Paper Crane Productions

The Secret Life of Disney Princesses by The Hard Comedy

Connected by Bhanita Mistry-Russell

Ease on Down by The Motion Dance Collective

Stroke by Jiani Zhao & Emanuele Romano

Fragments by Oli Greck

The Oxnard EDD Shooting Massacre by Andrew Jimenez

Thirty-Three by Michael Booth (Leicester Square Theatre, West End London)

I Am Depression by Wazza Yadi

Man Friday (Trailer) by Grey Paper Crane Productions

Jumping Borders by Joseph Tindle

A Tribute to My Stupid Dad by Vijay Sridharan

The Perfect Dinner by Olesia Saveleva

Elements 101 by Remel Chinn

珠海華發藝術館 for JA Design Architects Ltd.

海口國際生命科學城 for JA Design Architects Ltd.

The Bird in the Window by Cameron Perry & Tulsi Behl

Divertimento for Chamber Orchestra

Vinyl Countdown by Henry Wright

樓蘭古城 for Joanlin Au Design Limited

YADA by Gbemisola Ikumelo

Alchemical Door #4 by ImmerCity (Babel Studios, London)

Horror Kittens by Daniel Sheridan

MAELSTRØM – BYMTUK/Ellis Kerkhoven (Lemon Tree Theatre, Aberdeen)

Alchemical Door #3 by ImmerCity (Babel Studios. London)

New Message (Trailer) by Matt Mrozek

All in Good Time by Patrick West

Marco and Polo by Iris Sunniva Inguito

Blood Will Have Blood by Clancy Flynn (Brighton Fringe Festival)

UNITY (Michael Jackson Tribute Album) by Tony Succar

New Message by Matt Mrozek

重慶溜冰場 for Rink Limited Hong Kong

The Alchemical Door #2 by ImmerCity (Babel Studios, London)

Short Piece for Quintet

The Alchemical Door #1 by ImmerCity (Babel Studios, London)

Five Short Pieces for Violin and Viola

The Den by Gbemisola Ikumelo

The Run by Libby Cornelssen

The Plague by Athena Chow

Lilt

Ohji’s Story by Oh Ji-Hyun

The Lark by Jean Anouilh (Rose Theatre, London)

256 Postcards Ago by Michelle Vinall

After Dessert by Tufts University Television

The Children’s Hour by Lillian Hellman

寧夏沙漠玫瑰酒店for JA Design Architects Ltd.

To the Caves for JA Design Architects Ltd.

Rise

mélange

走西口for Joanlin Au Design Limited

One Week by Jared Bronen

Chinese International School Dancer’s Showcase

Four Minute Warning by Henry Hsiao

Chant for Marimba

Bad Romance by Henry Hsiao

Director: Alexandra Rutter

Director: Christa Harris

Director: Charley Ive

Director: Natasha Kathi-Chandra

Director: Mingyu Lin

Director: Wendy Wong

Director: Jude Christian

Director: Alisha Artry

Director: Alisha Artry

Director: Yasmeen Arden

Director: Abi Falase

Director: Yasmeen Arden

Director: Nadia Papachronopoulou

Director: Alisha Artry

Directors: Iona Kirk & Ellandar

Director: Alisha Artry

Director: Tash Hyman

Director: Alice Fitzgerald

Directors: Vicky Olusanya & Alisha Artry

Director: Rachel Bagshaw

Director: Stephen Bailey

Director: Iona Kirk

Directed by full creative team

Director: Emily Aboud

Director: Matt Ayleigh

Director: Leanne Bailham

Director: Tobore Dafiaga

Director: Beth Pitts

Director: Pamela Jikiemi

Director: Pamela Jikiemi

Director: Julia Cheng

Director: Alistair Wilkinson

Director: Jordana Golbourn

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