Nicola T. Chang is an award-winning composer/sound designer for theatre (plays), film, audio dramas and commercial media from Hong Kong, now currently based in London. She is also a theatre performer, recently appearing in Fantastically Great Women Who Changed the World (UK Tour), and previously in SIX (West End/World Tour) and STOMP (West End/World Tour).
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), A Playlist for the Revolution (Bush Theatre), Little Baby Jesus (Orange Tree Theatre, JMK 2019), Feral Monster (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:
If You Only Knew (2024), 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:
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Composition/Sound Design
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British Podcast Awards – Best Fiction Podcast: Fully Amplified (silver)
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Evening Standard Future Theatre Fund – Audio Design (co-winner)
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Off West-End Awards – Sound Design: Garden of Words (nominee)
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Off West-End Awards – Sound Design: Little Baby Jesus (nominee)
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Off West-End Awards – Sound Design: Finishing the Picture (nominee)
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Off West-End Awards – Sound Design: Nine Foot Nine (nominee)
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Musical Direction
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BroadwayWorld UK/West End Awards – Musical Director: The Ministry of Lesbian Affairs (nominee)
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Performance
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Hong Kong Percussion Centre Trophy
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Elizabeth Verveer Tishler Prize in Music Performance
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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.
Recent projects include:
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For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy Olivier Awards For Best New Play (Nomination)
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The Swell Olivier Awards 2024 Outstanding Achievement In Affiliate Theatre (Nomination), Off West-End Awards For Best Production (Nomination), Guardian Readers’ Favourite Stage Shows Of 2023
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A Playlist For The Revolution Olivier Awards 2024 Outstanding Achievement In Affiliate Theatre (Nomination)
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My Neighbour Totoro Winner Of Six Olivier Awards And Five Whatsonstage Awards
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The Real And Imagined History Of The Elephant Man, Sir Peter Hall Directing Award 2023, Guardian Readers’ Favourite Stage Shows Of 2023
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Fully Amplified British Podcast Awards 2022 (Fiction Category) - Silver, Anthem Awards 2022 (Diversity, Equity & Inclusion Category) - Silver, International Women’s Podcast Awards 2021 (Moment Of Touching Honesty Category) - Runner Up, Arias Awards 2022 (Grassroots Category) - Bronze
Photo by Finn Daragh
Press
“12 theatre faces to look out for in 2020” in WhatsOnStage, 27 December 2019
Full feature in The Stage, 4 September, 2018
"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
“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
“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 is frequently spot-on."
★★★★★ The Upcoming on For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy
https://www.theupcoming.co.uk/2024/03/08/for-black-boys-who-have-considered-suicide-when-the-hue-gets-too-heavy-at-garrick-theatre-theatre-review/
“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
"A beautifully poetic and bold piece of theatre. FBB is a stunningly slick show directed by the writer Ryan Calais Cameron, with music and sound by Nicola T. Chang."
★★★★ The Spy in the Stalls on For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy
https://thespyinthestalls.com/2024/03/for-black-boys-who/
"For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy comes full of beans, the sound design and composition (Nicola T Chang) a mix of several genres, jazzy, mellow, hiphop and more."
British Theatre Guide on For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy
https://www.britishtheatreguide.info/reviews/for-black-boys-garrick-theatre-23064
"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 musical with a rich soundtrack full of grime, R&B, pop and drum and bass influences composed by Nicola T. Chang, the show also delivers several enjoyable boppy numbers."
★★★★ Institute of Welsh Affairs on Feral Monster
https://www.iwa.wales/agenda/2024/03/review-feral-monster-national-theatre-wales-%E2%98%85%E2%98%85%E2%98%85%E2%98%85/
"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
"The inclusion of epic music and immersive sound-effects, as well as aural storytelling elements, means that the story is perfectly conveyed audibly, enhancing the overall show."
★★★★★ West End Best Friend on Macbeth
"Nicola T. Chang’s eerie soundscapes and dramatic music contributes to the dark, isolated and supernatural atmosphere."
★★★★ Fairy Powered Productions on Macbeth
https://fairypoweredproductions.com/macbeth-review-18/
"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
"The constant atmospheric music (by Nicola T. Chang) provided consistent tension throughout most of the play, added depth and conflict to the monologues especially, whilst also helping to bring extra power to the dramatic fight scenes."
Leeds Living on Macbeth
https://leedsliving.co.uk/art-culture/macbeth-a-modern-production-of-a-classic-tale-two-hours-of-pure-entertainment
"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
“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
“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/
"The music by Nicola T. Chang and David Shrubsole was beautiful. It helped breathe life into the story and gave us moments of to sit and feel and ultimately be transported"
Theatre and Tonic on The Ballad of Hattie and James
https://theatreandtonic.co.uk/blog/the-ballad-of-hattie-and-james-kiln-theatre-review
"The score, composed by Nicola T Chang and music director David Shrubsole, is suitably lyrical. It’s rich and romantic, full of flurries and trills set over deep, yearning chords."
The Stage on the Ballad of Hattie and James
https://www.thestage.co.uk/reviews/the-ballad-of-hattie-and-james-review-at-kiln-english-touring-theatre-by-samuel-adamson-directed-by-richard-twyman-with-charles-edwards
"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
"... 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
"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
"(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
"Sound designer Nicola T Chang creates an absorbing soundscape of pouring rain, muttering voices and cawing crows."
The Stage on The Garden of Words
"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
"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
"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
"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
“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
"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
"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
"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
"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
"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
“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 April 2024)
Selected Credits
Killology (Schauspiel Frankfurt)
The Ballad of Hattie and James by Samuel Adamson (Kiln Theatre)
Macbeth by William Shakespeare (Leeds Playhouse)
For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy
by Ryan Calais Cameron (Garrick Theatre, West End)
Feral Monster 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: Richard Twyman
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
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
Algorithms by Sadie Clark (Park90, London)
Thrive/Fully Amplified by Futures Theatre Company
Hugo and Harley’s Greatest and Most Joyful Radio Show! by Tanya Loretta Dee
A Pickle Makes a Magic Den by Mae Munro
Stevie and Hayley by Michelle Payne
Artefact by Rena Brennan (Playground Theatre)
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: Maddy Moore
Director: Caroline Bryant
Director: Nadia Papachronopoulou
Director: Lucille Findlay
Director: Abi Falase
Director: Rena Brennan
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
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