Nate Edmondson    Composer  |  Sound Designer

Nate is an international, multi-award winning composer, sound designer, and occasional musical director, for film, television, radio, advertising and stage.

Originally from Western Australia, Nate grew up amongst the remote red dirt and spinifex of the Pilbara region, before moving to Perth. There, he trained as both a classical and jazz trombonist, and pianist, in addition to fronting several local bands as a multi-instrumentalist singer/songwriter and arranger.

Now based in Sydney, Nate is a graduate of the National Institute of Dramatic Art (NIDA), where he trained under the mentorship of some of Australia’s finest musicians and sound designers, most of whom he has gone on to collaborate with professionally. Nate has worked extensively in the theatre and live events industries for the past ten years, and his detailed music scores and sound designs can regularly be heard on stages around the world. Locally, he has created work for some of Australia’s premier theatre and dance companies, and arts festivals, with much of his work touring both nationally and internationally.

In 2015 and 2016 respectively, his work on the critically acclaimed Siren Theatre Company productions of Misterman and Good With Maps both earned him a Sydney Theatre Award for Best Score / Sound Design (Independent). In 2018, his work as sound designer with Sydney Theatre Company on the two-part stage epic, The Harp In The South, garnered multiple award nominations, including a prestigious Helpmann Award nomination for Best Sound Design in 2019. Further to individual accolades, Nate has been a part of numerous award-winning productions around Australia.

On the international stage, Nate has written music for productions in the UK and the US, and his work has toured throughout the US, Canada, UK, Europe, Asia, New Zealand, and the Middle East. The UK remount of his composition and sound design for All My Sons, with Street Theatre, was the winner of the Brian Dyer Trophy for Best Score / Sound Design, 2014/15 (The Phoebe Rees Competition - Somerset Fellowship of Drama). His celebrated score for The Very Hungry Caterpillar Show helped smash Off-Broadway box office records in the US in 2016, and again in 2017, and led to Drama Desk Awards and Off-Broadway Alliance Awards nominations, followed by multiple sold out seasons on London's West End. Nate's work on this production has now been heard by more than half a million children across the globe, and is still touring.

In 2015, Nate's sound design work made international news headlines, when a social media campaign petitioning pop star, Taylor Swift, for the use of one of her hits for the Belvoir production of Seventeen, was successful, with Swift personally granting approval via Twitter, in an unprecedented move. He has also been repeatedly profiled in both Australian and international online and print media, and on radio, and he occasionally contributes to local Sydney arts publications.

Beyond theatre, dance and live events, Nate also produces music for television, radio, online media, short films, VR, mobile apps, podcasts, and commercial advertising, as well as a wide range of stand-alone and commissioned compositions for both screen and stage. His television composition work has featured on the ABC in Australia, and his short film work has been screened at film festivals around the world.

Nate also lectures in theatre production, technical audio and sound design. He has taught, supervised, and mentored students at NIDA, UTS, AIM Dramatic Arts, ACTT and Wesley Institute, as well as providing consultation and technical / design support for production companies, theatrical venues and education programs across Sydney and beyond. In recent years, Nate has also been busy working as an activist and advocate for both the NSW independent theatre sector, and for the promotion of improved pay and working conditions of composers and sound designers at a national level; work that he is proudly passionate of.

Nate was a recipient of an individual Australia Council ArtStart Grant for 2013.

"Nate Edmondson sets a benchmark for excellence in creative voicing of textual developments and thematic motifs in his playwright’s writings, with sound design involving scrupulous script analysis… Prolific and amazingly detailed, both as a composer and sound designer."

• Kevin Jackson, 2012

"Here is a burgeoning Philip Glass or Michael Nyman."

• Lloyd Bradford Syke, 2013

 

"From the intimacy of the Old Fitz, to the bigger auditoriums of Belvoir and the Opera House, his contribution to sound design is simply outstanding."

• Suzy Wrong, 2015

"...like a cross between Philip Glass and Alexandre Desplat."

• Glenn Saunders, 2015