Q: What’s your job (on Sound Symphony) and what do you like about it? 
A: I’m the sound designer. I try to create sounds and acoustic spaces that support and enhance the story; I also design the means to deliver that support in a way that is appropriate to the show. Those two tasks exist for every production and are co-dependent, but they are different for each individual scenario, which makes the role endlessly interesting.

Q: What’s the hardest bit of your job? 
A: Finding a ‘way in’ to the work, so that what I bring to it feels like a component part of the whole, rather than something superficial. Sometimes that comes quite quickly, but more often it takes time to identify and understand.

Q: What’s your favourite thing about working on Sound Symphony? 
A: A lot of the usual theatrical rules and conventions simply don’t apply to Sound Symphony, so there is a joy in being able to ignore the rulebook to an extent. The small audience size also means that we can be much more attentive at an individual level, which is often not achievable with larger shows.

Q: What is your favourite sound?  
A: It depends! Silence. Or the sound of light rain on a forest floor. Or the tiny sounds from a particularly small and intricate mechanical device. Or the foghorn on Sumburgh Head. Or… there’s no single answer.