Selected Reviews

 

Table

[Australia, 2019]

 

"When thinking about how to begin this review …does he go left-of-centre by talking about the impressive lighting design and composition before anything else? … Musical director, composer and sound designer Nate Edmondson has compiled a wonderful list of songs, hymns and audio elements that richly complement the on stage action. The inclusion of such elements, which are sung by the cast, played artificially, or otherwise incorporated naturally, are a fun addition to the show that the audience easily takes to. … Ultimately, Table is on the whole a great show."   ★ ★ ★ ★

Manan Luthra (State Of The Art)

 

"With plenty of singing interspersed with family business, they all have their moments… This production at the Seymour Centre is excellent… they pull off some marvellous moments of pure theatre."

Frank Hatherley (Stage Whispers)

 

"The production is exceedingly elegant… Nate Edmondson contributes two hours of music and sound, intricately magnifying every sensory peak and trough, highly effective in helping us find focus for all of Table‘s deliberately abrupt plot shifts. …makes for a staging that sings with authenticity from beginning to end."

Suzy Wrong (Suzy Goes See)

 

"Nate Edmondson’s sound design and composition are beautiful in their own right… The audience is…always won back by the acting and design elements working together. … Table is a magical text, and there are real moments of greatness in this production. … Its themes, and their exploration, have edge, and make it a night at the theatre that you’ll need to talk and talk about."   ★ ★ ★ ★

Sean Maroney (The Music)

 

"‘I hate this table,’ is the first line uttered in Tanya Ronder’s Table. It is repeated again at the end of the play, but by then the beautiful crafting of the writing and the exquisitely precise staging of this production defies anyone to mimic the line. On the contrary, audiences are most likely to enthuse ‘I love this Table!’ … Director Kim Hardwick’s simply elegant production not only boasts very high performance proficiency in the playing but also superbly realised technical expertise. …Nate Edmondson’s music composition and sound design, especially the mixing Swahili song with the Christian chant of Kyrie Eleison, is simultaneously poignant, powerful and playful. Tempestuous and boisterous, a seat at this Table is an invitation to a feast."

Richard Cotter (Sydney Arts Guide)

 

"The audio is remarkable for this production. From a hummed 'He Who Would Valiant Be' to the choices of mood underscore, the music holds the production in its gentle hands. The seduction, for example, is light and bold. The recurrence of a wood-block feel in the score is conceptually beyond wonderful and the drum heartbeat combined with ecclesiastical choral out of interval an exciting entr’acte. The singing done by the cast, in English and Swahili, is delightful to listen to also. … This a production which begins in the head before slowly taking pride of place in a hopeful heart."   ★ ★ ★ ★

Judith Greenaway (Reviews By Judith)

 

"…the play remained polished and solid from the beginning to the very end. Table is an imaginative, deeply felt production filled with old hymns, intense confrontations, quirky humour, and sudden surprises. … It was truly a must-watch. A spectacular theatre production."

Gypsy Rose (Weekend Notes)

 

"…Table moves with easy fluency. Passages of high drama and gentle comedy seamlessly dovetail. The live singing and pre-recorded music composed by Nate Edmondson, likewise."   ★ ★ ★ ☆

Jason Blake (Audrey Journal)

 

"With a clarity and detail that feels like a true story… A precocious child in pink tutu and headphones sings Cantonese songs… With such sparse visual clues Nate Edmondson's sound design and musical composition helps set the scenes whilst also creating a family theme of sorts. A traditional English folk tune transports the story to Litchfield whilst a percussive military rolls sends Finley Best (Mathew Lee) off to the First World War. Tribal beats signal Sarah's position as a Novice sent to the Tanganyika mission and Cantonese pop songs welcome in Anthony Best (Mathew Lee) and Ben Hillier's child born with the help of a Chinese surrogate. Table is a beautifully woven story with a strong cast capturing the highs and lows of the family."

Jade Kops (Broadway World)

 

"With a sparsely set stage, sound takes a prominent role particularly in the use of reverberation and echos. Musical director, composer, and sound designer Nate Edmondson weaves music into moments of collective joy in Sarah’s (Duckworth) mission and Su-Lin’s playing which severely alter the impact of silence and shouting in moments of disagreement or trauma. This sound design is potently affective in reflecting the shared emotions of the characters on stage."

Night Writes

 

"There is nothing about this production that isn’t scrupulously planned and meticulously rehearsed. … Ronder has added English hymns and African songs to the play, eerily punctuating some scenes, raising the pace of others. Moments of suspense punctuate the tension that builds steadily… Designers Isabel Hudson (set and costume), Martin Kinnane (lighting), and Nate Edmondson (music and sound) have made the maximum of minimalism, providing a background on which the cast can take five generations of the Best family cunningly through over a hundred years of historical events and social change."

Carol Wimmer

 

"Mystical lighting effects from Martin Kinnane and a haunting, wistful composition from Nate Edmondson created the appropriate mood. The simulation of a lion encounter was quite breathtaking. … Table is an experience well worth enjoying."

Paul Kiely (Absolute Theatre)

 

"I was riveted throughout by the faultless performances, the clarity in the direction and the economy in its design. … I advise to trust in the writing and the nuances in the acting and the clear presentation by Hardwick and her production creatives. … What can be reviewed here is the exquisite soundscape by Nate Edmondson credited as sound designer, composer and musical director. … As stated rarely do I sit in the front and moreover infrequently do I return to see a play in the same season. I will make an exception this time as this wonderful theatre piece deserves a second viewing as it is so rich in its story-telling. Not to be missed under any circumstances."   ★ ★ ★ ★ ★

Mark Nagle (Theatre Now)

 

"The tone is very much ethereal, emotionally driven and tragic. … In Table, I felt the input of raw emotions and hard work. This show is memorable for its unique perspective, dazzling performances and generosity with feeling and ardour."

Brianna McCarthy (The Buzz From Sydney)

 

"…it is a terrific production… Musically, Nate Edmondson’s sound design, including the Christian chant of Kyrie Eleison blended with Swahili song, is boisterous, vigorous and passionate. … A vibrant, at times very intense and turbulent play that celebrates life and love."

Lynne Lancaster (Lynne’s Theatre Notes)

"The musical design of the show was also a key point of joy for me. Nate Edmondson curated songs and composed some moving pieces of score that breathed a some mighty colour into the centuries spanning narrative. Score and soundtracks are not common in the Sydney theatre scene today, so Edmondson’s work here brings forth. While at times the variety of instrumentation used was eclectic (shifting from woodwind pieces to orchestras to piano segments and roaring choirs), Table has crafted an audio experience that is among the strongest I’ve seen in recent times."

James Ong (Theatre Travels)

"There is a robust composition and sound design from Nate Edmondson that places with aural mood and detail the history of the table and its locations."

Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

 

Possum Magic

[Australia, 2019]

 

"The gentleness of Grandma Poss and her journey around Australia with her invisible grandchild, Hush, is ‘magically’ recreated in this imaginative adaptation. …Sandra Eldridge brings together a cast of creative theatre makers to breathe life into the characters, and the illusion that weaves through the story. … Backed by the creative sounds of composer Nate Edmondson… It may sound trite to say ‘Monkey Baa has done it again’, but it’s true. …they have taken characters from the page and made them live graphically for young audiences in eclectically theatrical productions that are creative and carefully polished."

• Carol Wimmer (Stage Whispers)

 

"The clever artistic team, including production design (Emma Vine), composer and sound designer (Nate Edmondson), and magic and illusion designer (Adam Mada), successfully translated the whimsical world of the story to the stage and captivated the young audience. It’s sure to be another dazzling success for Sandra Eldridge and Eva di Cesare."

• Catherine Skipper (South Sydney Herald)

 

"The highlight of the production is Nate Edmondson’s sound design that clearly evokes the book: the distinctive sounds of birds and wildlife immediately transported us to that imaginative Australian bush place where all of our favourite characters reside. … This production of Possum Magic elegantly adapted by Eva Di Cesare and Sandra Eldridge certainly contains enough magic to enable the production to have a long, long life."

• Fiona Hallenan-Barker (Theatre Now)

 

"We're instantly transported to a magical forest with gnarled tree trunks and a giant moon listening to the buzzing sounds of wildlife. … Joined by an extraordinary creative team, Monkey Baa brings to life the characters, journey and love that has made Possum Magic the most-loved and best-selling Australian picture book of all time. I found it fabulous to see a production that gets children engaged at a young age in theatre and develop an appreciation of the production and artists. The production was seamless from the acting, puppetry and illusion of travel and music and entertaining actors Alex Packard and Michael Yore."

• Weekend Notes

 

"Bake Monkey Baa Theatre Company’s international reputation, sprinkle it with some marvellous acting, mix through music, dance, screen animations, add half a lamington and you have 'people food' for the soul. Junior or senior. …the newer elements thrill too. The glorious audio track which gives the animals a motif. Pluck and percussion for the emu and the strings that keep Hush invisible. … This production is an experience to treasure and take with you to bedtime. Young or old, Possum Magic brings the paper and ink to life in a glorious way that children obviously adore and carers remember with genuine love and affection."   ★ ★ ★ ★ ☆

• Judith Greenaway (Arts Hub)

 

"…this attractive production garnishes the story with low-key stage magic, elements of puppetry and projected animation."    ★ ★

• Jason Blake (Audrey Journal)

 

"The show captured the story wonderfully, starting with a bang in the scene where Hush is made invisible, turning her brown possum costume into a glistening invisible cloak. Lights, music and the large projection at the centre of the stage were cleverly used to make this moment memorable."

• Teri Mortimer (Artsplorers)

 

 

Dead Cat Bounce

[Australia, 2019]

 

"…the work of the crew is worth commending. … Sound designer Nate Edmondson has an unusually pumping soundtrack for a play like this, making transition points ironically welcome with an absolutely banging library (which, if I could get a copy of, would be much appreciated)."

• Manan Luthra (Scenestr)

 

"All credit, too, to the design team, set (Genevieve Blanchett), lighting (Alexander Berlage) and sound (Nate Edmondson), for providing a stage that is white, usually bright and walled in."

• Carrie Kablean (Megaphone Oz)

 

"…the engineered snap from scene changes is meticulously clever. … Audio is equally subtle with effects such as bushscape, operated to be effectively under, and smooth jazz belying the turmoil inside and exemplifying the search for peace."   ★ ★ ★ ★

• Judith Greenaway (Arts Hub)

 

"…this work is presented with artful simplicity in the intimate space of SBW Stables Theatre."

• Jade Kops (Broadway World)

 

"It is a well-structured play; well-acted and well-directed (Mitchell Butel) and well-designed for Griffin’s challenging space."

• Kate Stratford (Theatre Now)

 

"The production is fortunately, a fairly polished one, with Alexander Berlage’s lights and Nate Edmondson’s music providing a great deal of elevation…"

• Suzy Wrong (Suzy Goes See)

 

"…some deft touches from the design team…"

• John Shand (Sydney Morning Herald)

 

"Nate Edmondson’s score is appropriately woven in and out of the production and makes particular impact during scene transitions."   ★ ★ ★ 

• Tim Garratt (Theatre People)

 

"Mitchell Butel’s production serves the play well… Nate Edmondson’s moody, dark soundscape hovers over the play, ‘commentating’ on the action."

• David Kary (Sydney Arts Guide)

 

"There is an effective set by Genevieve Blanchett, an open stage with brightly illuminated edges; a rich and subtle lighting design by Alexander Berlage; and a very good score and sound ­design by Nate Edmondson that guides us through the story."

• John McCallum (The Australian)

 

 

The Moors

[Australia, 2019]

 

"A final deserving hat tip now to Nate Edmondson, the award-winning composer and sound designer behind this intriguing production, who jangled audience nerves at all the right moments and swelled the self-reflexive melodrama with apropos musical pomp. He also aided Daly in her terrific genre-bending final ballad. For the audience on opening night: a highlight."   ★ ★ ★ ☆

• Kate Prendergast (Audrey Journal)

 

"It is a deliciously detailed production which, despite being non-sequitur free, is alarmingly disorienting and it’s ferociously feminist and with some remarkably troubling hits over the head with a Bronte. … It beings with a ‘nunnunnunnah’. And from there on Nate Edmondson’s audio design leaves no clichéd audio cue unreferenced. It takes the horrible from horror with a score which interlaces plunks and a distant pipe strike and swirls of strings and a contrapuntal discordancy in places. It never overwhelms and even has a bell motif that rings distant from a hillock through the fog! Nothing about this production goes too far… or not far enough."

• Judith Greenaway (Sydney Arts Guide)

 

"Kate Gaul's production and design astutely uses a slow-motion revolve to let us scrutinise moments of intra-scene stasis from different angles. ...with Nate Edmondson's music she has maximised the inherent Gothic melodrama…"   ★ ★ ★ ☆

• John Shand (Sydney Morning Herald)

 

"The cast and crew, under the masterful direction of Kate Gaul are very good. … The musical theme by Nate Edmondson was especially apt and haunting. Strong and loud, I was reminded of eerie feelings from old Vincent Price horror movies. The Moors is an entirely enthralling theatrical experience which I can thoroughly recommend."

• Paul Kiely (Absolute Theatre)

 

"Directed by Kate Gaul, it is a fabulously moody atmosphere that supports the play’s dark humour. … Composer Nate Edmondson surpasses all expectations with the astonishing detail in the sounds that he provides. We are spooked and tickled at the same time, thoroughly entertained by the purposefully arty approach to his portion of the storytelling."

• Suzy Wrong (Suzy Goes See)

 

"…highlighted by a climactic, high-energy song and dance that absolutely brings the house down, revelling in its own weirdness and audacity to become the show’s highlight. For anyone remotely intrigued by Brontë-ish period pieces and dark, subversive comedy (or if you caught The Favourite in theatres and loved it), The Moors is a must-see."

• Fred Pryce (Theatre Travels)

 

"The director has also made fine choices in having Nate Edmondson compose the soundtrack/soundscape: from the opening morning birdsong through lushly-orchestrated Korngold-esque fragments, the music-sound is virtually another character. … That there were going to be tears before bedtime is never in any doubt: how they happen is by turns comical and tragic. If the Brontës had lived longer than their painfully short lives, they might have come up with some of these ideas to amuse each other. Recommended."   ★ ★ ★ ☆

• Diana Simmonds (Stage Noise)

 

"Part parody and part black comedy, The Moors is a tightly crafted 80-minute piece that has laugh-out loud moments. … A doom-ridden score opens the proceedings, which take place on a circular stage with plenty of black, grey and silver to put us (briefly) in a sombre mood (courtesy of sound designer Nate Edmondson and lighting designer Fausto Brusamolino) and there are plenty of musical clichés throughout to up the quirky ante. … Without tight direction and great performances, The Moors could easily be lame. This production at the Reginald Theatre is anything but. Under Kate Gaul’s direction everything works a treat and the cast is uniformly excellent… Horror has never been so horribly funny."

• Carrie Kablean (Megaphone Oz)

 

"Kate Gaul has designed and directed this fascinating, macabre, quirky little show. It’s moody and grotesquely compelling, with a clever revolve utilised fabulously by all. … It’s a slick production… Composer Nate Edmondson puts his signature grandiose style to the sound, with epic orchestral compositions thwarting us throughout."

• Alana Kaye (Theatre Now)

 

"Gaul has added two rows of bleacher seats on either side of the stage to heighten the intimacy between the audience and the world of the play, while Nate Edmondson’s sound and Fausto Brusamolino’s lighting underpin the action with an unsettling, haunting quality."   ★ ★ ★ ☆

• Jo Litson (Limelight Magazine)

 

"The Moors is a thrilling production, brought to vibrant and exciting life by Kate Gaul and her energetic, intelligent group of creatives. … One gets a sense of potent collaboration inside the production… There are so many wonderful productions on the independent theatre scene in Sydney, so much vitality, so much to feed the mind, that for a production to stand out it must conform to something extra special. The Moors achieves this in so many ways. Turn your television off, pay your $50 and let it touch your life."

• Lisa Thatcher (Lisa Thatcher)

 

"Not often do Sydney audiences have the opportunity to see theatre that takes you by surprise with its colourful well poised theatrics, but also offers moments that are quietly moving, somber, unexpectedly feeling. … Director Kate Gaul has created an all surrounding and brilliant theatrical experience of The Moors – and like the play itself, we are caught off guard from the moment we enter the Reginald with a staging that is simple yet totally alive and ever moving. Highly recommended."

• Sylvia Keays (The Buzz From Sydney)

 

"A curtain, held high above the stage, symbolises the grey desolation of the moors, shimmering and reflecting Fausto Brusamolino’s lighting, the gloomy mood emphasised by the eerie suggestions of Nate Edmondson’s score."

• Carol Wimmer

 

 

Love

[Australia, 2018]

 

"Director Rachel Chant's simple but tight production puts the women's visceral relationship front and centre. … Nate Edmondson's sound design injects moments of portentous yet lyrical beauty. And concluding with an arrangement of REM's hauntingly dark 'The One I Love' strikes a perfect note."   ★ ★ ★ ★

Joyce Morgan (Sydney Morning Herald)

 

"This production strikes and grasps at the audience, gouging presumption to open the heart. … The suddenness of the emotional energy change between each is exquisitely wrought by the director and the tech of this production is subtle and setting for each new context. … The lighting and audio often tell their own story without speech. Just as often, the dialogue is rapid fire yet when the music makes its way gently through the dialogue it is unobtrusively emotional. Especially as the metallic treble whine of ringing metal gives way to the greater recognisability of strings. And there’s a superb sequence during a speech about love that is as ethereal, undefinable and big as the word itself. … Make no mistake, this production will bite you, hard, then gnaw at your world view. Love is a breath-held journey into other lives and an arse kick to dispassion and rationality."   ★ ★ ★ ★ ☆

Judith Greenaway (Arts Hub)

 

"Love is a striking work, both entertaining and compelling. Worth a look."

Geraldine Worthington (Molong Online)

 

"Under the careful eye of director Rachel Chant, the poetic moments of Cornelius’ script soar: her lyrical, colloquial monologues are the hero of the production, bathed in glory by lighting designer Sian James-Holland and composer and sound designer Nate Edmondson. … This isn’t an easy production, but it’s an admirable one."   ★ ★ ★ ☆

Cassie Tongue (Time Out Sydney)

 

"Magnificent direction by Rachel Chant turns this desolate tale into incredibly compelling theatre; even if the personalities feel far removed from our middle class realities, Chant’s exhilarating rigour from beginning to end, insists on our engagement. Design elements are cleverly imagined, by the wonderfully concordant trio of Ella Butler (set), Nate Edmondson (sound) and Sian James-Holland (lights), for a production rich and sophisticated in its impact."

Suzy Wrong (Suzy Goes See)

 

"Darlinghurst Theatre Company’s production lets the play speak for itself… An electronic score/sound design (Nate Edmondson) smoothly marks scene transitions."   ★ ★ ★ ☆

Debbie Zhou (Audrey Journal)

 

"Director Rachel Chant has come up with a forceful production which immerses us in the lives of these three battlers. … Nate Edmondson continues to impress (he gets a lot of work) with another edgy, atmospheric soundscape. … There were no false notes, the scenes felt authentic and were well played. Recommended…"

David Kary (Sydney Arts Guide)

 

"Do not hesitate to take yourself to the Eternity Playhouse to catch this fine production. …Love is depicted in all its complexity. It’s all rounded out by sound designer Nate Edmondson’s composed and found aural fragments. … The result is 75 minutes of astonishing theatre. Recommended without reservation."   ★ ★ ★ ★

Diana Simmonds (Stage Noise)

 

"Love is confronting, unforgiving and very powerful. … It’s a voice that’s rightfully cherished and it’s wonderful to hear it here, staged with such compassion in a fine production. It’s not a fun night at the theatre but a powerful one that’ll make you think twice about the way we treat each other."

Peter Gotting (Stage Whispers)

 

Evie May -

Tivoli Story

[Australia, 2018]

 

"…Evie May is a meticulously constructed production. …creative aspects carry subtle intricacy and theatricality. From the 60s swatch of green eyeshadow to the exciting animation early in the show, the design and tech gently travel the character and the narrative. With text responsive lighting, look for the black and white of early television, and a splendidly designed audio mix, the production has the seamless finesse which allows uninhibited absorption in the music… This is an entertaining, crafted, timely and relevant work."   ★ ★ ★ ★ ☆

Judith Greenaway (Arts Hub)

 

"There are a lot of clichés you could toss at Evie May – A Tivoli Story, but this show rises above them to deliver an entertaining and moving show that embraces its inherent melodrama and theatricality, and is all the better for it. … With simple production values and an abundance of talent under the reliable direction of Kate Champion, Evie May – A Tivoli Story is a promising debut of a new Australian musical."

Jack Teiwes (Australian Stage)

 

"This show is a must see: float back in time and let the songs wash over you until the present day melts away. The writers note that the musical is about a time when ‘there were greater opportunities for us to come together, connect, and share a communal experience.’ This production offers just such an opportunity."

Oliver Wakelin (Australian Arts Review)

 

"Evie May is a strong work, beautifully imagined and executed with admirable integrity."

Suzy Wrong (Suzy Goes See)

 

"This is a remarkable addition to Australian musical theatre and as one audient remarked after the opening night: ‘You should run to see it.’ Recommended without reservation."   ★ ★ ★ ★

Diana Simmonds (Stage Noise)

 

"…this show nails it. Some of the music and writing is superb - and it’s given the best start possible with a brilliant production. … It now feels that the Hayes (and some other companies) are producing Australian musicals that can be compared to what you’d see off-Broadway or in other countries. Creative, varied and with loads of talent - that’s worth applauding."

Peter Gotting (Stage Whispers)

 

"Evie May is a wonderful new work that deserves a life that lasts beyond its Hayes Theatre Co. premiere. … Adding to what has arguably been the strongest season to date at the Hayes, Evie May speaks to the stunning calibre of talent on our stages and the fascinating home-grown stories they should be playing an integral role in sharing."   ★ ★ ★ ★ ☆

Tim Garratt (Theatre People)

 

"…Stephen Kreamer’s musical direction is lovely. The concealed band can be easily heard throughout. … It’s a lovely little show and a nice Australian addition to the theatre scene right now."

Alana Kaye (Theatre Now)

 

"There was a time when the Hayes Theatre Company productions over-amplified the sound for this tiny space. In more recent times this has been corrected and with this production is perfected by sound designer Nate Edmondson. A new Australian musical is to be celebrated and this most welcome production comes highly recommended."

Ben Apfelbaum (Sydney Arts Guide)

 

The Harp In

The South

(Part One & Two)

[Australia, 2018]

 

"…it is lovingly and evocatively brought to life at the STC in Kate Mulvany’s most impressive, sensitive and intelligent dramatic adaptation. … These battlers choose to focus on finding joy when and where they are able — a New Year’s bonfire, a school trip to the seaside and the iconic Luna Park fairground. These moments and many more are all brought to life by a distinguished design team, David Fleischer, Nick Schlieper, Renee Mulder, Nate Edmondson and music by The Sweats. These design magicians evoke the times seamlessly in a production that is world-class. ... Absolutely not to be missed!"

Geraldine Worthington (Molong Online)

 

"At its best it's like wading against the great wash of humanity in peak hour at Central Station: an endless press of faces registering worry, sorrow, panic, anger and, yes, even joy. … And the sheer scale of the enterprise is eye-watering: 700 pages of fiction adapted into 78 scenes for 18 actors across six hours – a huge undertaking for Mulvany, director Kip Williams (Sydney Theatre Company), the principals, ensemble, crew…"   ★ ★ ★ 

John Shand (Sydney Morning Herald)

 

"…with spells of eye-popping (and complexly choreographed) theatrical magic. … The first act, a distillation of Missus, is a triumph of design and theatricality, evoking the wide open spaces and the buzz of small-town life. …when newlyweds Hugh and Margaret move to Sydney to chase vague dreams of something better, their arrival in the big smoke is spectacularly staged like the entry to Valhalla. … This production is notably musical, too. It’s injected with instantly hummable Irish ditties, carefully sourced by Mulvany, as part of composer The Sweats’ never imposing score. Nate Edmondson’s sound design is well-judged."   ★ ★ ★ 

Jason Whittaker (Daily Review)

 

"Director Kip Williams’ vision is exquisite, for a production extraordinary in what it achieves… The Harp In The South is tremendously soulful, and it speaks to all who have an intimate connection with Surry Hills and its surrounds. Flawlessly designed, the show looks and sounds magnificent. … Music by The Sweats and sound design by Nate Edmondson, combine new with old, real with abstract, seamlessly cajoling us from one dimension to another, making us laugh and cry at will. The songs we choose to sing, are the truest indication of who we are, and the many melodic renditions of The Harp In The South are like spiritual disclosures, engineered to touch us in the heart and in the mind."

Suzy Wrong (Suzy Goes See)

 

"This is all beautifully done, the creative team making every effort to contrast the open spaces of the country with the concrete and mildew of inner Sydney. Beautiful tableaux interspersed with song and moments of heightened theatricality are hilarious and supremely affecting, with action occurring on a revolve and set pieces whisked on and off at lightning speed. … These plays will make your blood sing – they are utterly sublime."   ★ ★ ★ ★ ☆

Justine Nguyen (Limelight Magazine)

 

"Part One begins with a broadly sentimental depiction of country town life, which director Kip Williams and his design team…realise in a series of energetic, fluidly orchestrated sketches. … Nick Schlieper’s lighting design is symphonic in its detail and scope. Music (The Sweats) and sound (Nate Edmondson) likewise. … This is theatre for which terms such as ‘big-hearted’ and ‘sweeping’ were invented."   ★ ★ ★ 

Jason Blake (Audrey Journal)

 

"…The Harp In The South trilogy directed by Kip Williams is a unequivocal success. This incredible production, presented in two parts over 6 hours of stage time … captures the heart of the Aussie battler and Irish immigrant story in an incredibly beautiful but also incredibly real expression of a society that has since been cleared out of the now trendy Surry Hills. … Given the work is grounded in the Irish immigrant heritage of both Margaret and Hugh's parents, Mulvany keeps a common thread of The Last Rose Of Summer, an Irish ballad sung by the performers running through the story. It carries a mournful undertone whilst also being a reminder of Ireland as it reappears throughout the story. With additional music by The Sweats and Nate Edmondson's sound design, moments of joy, happiness, sorrow and pain are coloured by the soundscape. The songs on the radio help illustrate the changes in eras from the big band jazz to a fabulous female trio presented by Lucia Mastrantone, Helen Thomson and Emma Harvie at the end of Dolour's radio contest win. Music also helps express the multiculturalism of the Hills, from Lick Jimmy's traditional Chinese song of Shanghai and Florrie's Italian love song. … This production is gritty, raw and incredibly honest but also amazingly beautiful in its expression of hope beneath the grime and pain. … The Harp In The South is a captivating theatrical experience. … If you've read any of the books, go see this. If you haven't read any of the books go see this. If you know Sydney well, go see this. If you don't know Sydney well, go see this."

Jade Kops (Broadway World)

 

"Especially impressive is the composition of the atmospheric score of this production by The Sweats, the sound design by Nate Edmondson and the Musical Direction by Luke Byrne. … The Harp In The South is an especially good production. The scale of this Australian story on stage with these 18 actors is what a national theatre ought to be about. … I have seen this production twice. I recommend it thoroughly."

Kevin Jackson (Kevin Jackson’s Theatre Diary)

"Kate Mulvany’s masterful adaptation of Ruth Park’s The Harp In The South trilogy… is an empathetic landmark event in the Australian theatrical canon. …an astonishing achievement that will doubtless leave an indelible mark on the Australian theatre landscape."   ★ ★ ★ ★ ☆

Laura Hartnell (Australian Book Review)

 

"It’s a warm, rollicking feast of theatre… The suffusion of song throughout the text is smart, singalongs being central to working-class Irish culture: Mulvany and musical director Luke Byrne unearthed gems… I saw The Harp In The South just one week into its run, and the sophistication and polish of the work was remarkable. It’s a great piece of theatre, with continuing relevance today… In an ideal world, everyone would be able to see this epic."   ★ ★ ★ ★

Fiona McGregor (The Monthly)

 

"…there’s warmth and humour galore interwoven into the script along with a number of Irish songs tastefully punctuating the narrative. … The opening words of Siúil A Rún, which is used to great dramatic effect in Part One, spell it out: ‘I wish I were on yonder hill, ’tis there I’d sit an cry my fill’. …make no mistake, this is a very important addition to the Australian theatrical canon and one definitely worth seeing."   ★ ★ ★ ★

  Billy Cantrell (Irish Echo)

 

"Part One is an exquisite play brought to life in a faultless production. … When we return for A Poor Man’s Orange in Part Two, we find Surry Hills in a state of flux. … Houses in Plymouth street are being knocked down and we can hear this destruction… The beautiful songs of the earlier acts, sung by the cast, still filter through, but now this music is recorded and played to the characters and the audience. We are distanced from it, and it’s less comforting. … This production stands proudly and deservedly alongside its forbears."

Keith Gow (Witness Performance)

"This epic adaptation of Ruth Park’s famous trilogy of novels about love and life in the slums of Surry Hills is a triumph. … The show moves like a musical and, indeed, is rich with Irish songs, hymns and evocative sound (thanks to the composition, design and music direction by The Sweats, Nate Edmondson and Luke Byrne).  Music sings of cultural identity and community, and mostly it’s Irish strugglers, overflowing with pathos and defiant cheek, who are at the tender heart of this Australian saga. ...by the end, the audience are on their feet – and rightly so."

Martin Portus (Stage Whispers)

 

"Brilliant, memorable, epic, intimate, hilarious, tragic, unsentimental, humane, loving, vicious, tender, sickening, romantic, inspiring, redemptive... In essence it’s the theatre event of the year and will remain in hearts and minds for decades to come. … Complementing the stage are Renée Mulder’s costumes: delivering time, place, social standing and character with thrilling intelligence. The same can be said for the music, by The Sweats, and sound design by Nate Edmondson. From Irish shanties and folk tunes through fragments of period songs and street sounds – including the wrecking ball as old Surry Hills is destroyed – the aural component of the plays is as ravishing as the rest. And all of it is brought together in his most ambitious and best work to date by director Kip Williams. The star system is a reductive pain in the arse. I’m giving The Harp In The South all five; it deserves more."   ★ ★ ★ ★ ★

Diana Simmonds (Stage Noise)

 

"The set is stripped bare, becoming cavernous and crushing: a demolition soundscape of ripping and collapsing punctuates sad scenes."

Eve Vincent (Meanjin Quarterly)

 

"This is one of the big shows of the year for the Sydney Theatre Company, and… Kip Williams has come up with a very fine production which richly deserved the standing ovation it received on opening night. … The soundscape created by Nate Edmondson with some music composed by The Sweats always worked in with the action well. Some harp music was appropriately woven into the soundscape. … This was an engrossing,  richly theatrical production which one was swept along by. Highly recommended…"

David Kary (Sydney Arts Guide)

"…an epic stage production at Sydney Theatre Company. A cast of 18 actors is accompanied by an original musical score and more than 200 costumes across a two-part, six-hour play. … Original music with an Irish lilt is the thread that links past and present. …The Harp in the South: Parts One and Two deserves to be revived after this premiere season."

Steve Dow (The Saturday Paper)

 

"Sydney Theatre Company’s production…is one of those rare theatrical experiences that remain forever indelibly printed upon the mind as a masterpiece of the Australian stage. …The Harp In The South is a classic production of a classic Australian work. It is a production that will stay with you in heart and mind. What is so remarkable is the production’s ability to capture the very essence of the period… We can feel the ground, breathe the air and live in the very hearts and minds of the characters that people this intensely visceral world. Cast and creatives conjure an epic tapestry of experience that propels us into the minutiae of Park’s evocative world. … You will be amply rewarded by your visit to a production that I predict will sweep the Helpmann Awards. Whatever your decision, hurry to secure your seats. I offer another prediction – this brilliant production will sell out within a very short time, once the reviews and word of mouth hits the streets."

Peter Wilkins (Canberra Critics Circle)

 

"And Surry Hills itself changes as the sound of buildings being demolished echoes through the second play."

Alanna Maclean (Canberra Critics Circle)

 

"Mulvany has stitched the plays through with traditional Irish song, all minor keys and balladry, passed down from generation to generation. It’s a moving soundtrack to family – and community – history that traverses the open expanse of the first act of Part One, into the terrace-house structures of Plymouth Street in the second, and keeps us grounded even in Part Two... Composition by The Sweats, sound design by Nate Edmondson, and Nick Schlieper’s baldly emotional lighting keep us swept up in the story. To make an epic work of theatre is a near-impossible task; to demand perfection within it seems unfair and almost beside the point. … A standing ovation grew like a wave; the actors came back again and again for more curtain calls… It was almost like no one wanted to leave the theatre. The audience didn’t want to say goodbye."   ★ ★ ★ ★ 

Cassie Tongue (Time Out Sydney)

"The production – as we have come to expect of STC, from the direction by Kip Williams; the stage, costumes, lighting and sound designs; and of course with such a wonderful 20-member cast playing at least 50 characters over three generations – is highly engaging throughout."

Frank McKone (Canberra Critics Circle)

 

"Every so often something is truly worthy. And at almost six hours – it’s a big call – The Harp In The South is worthy of being the epic that playwright Kate Mulvany has brought to the stage. …I challenge you to find a more enjoyable entertainment that gives you access to a heart and soul snapshot of Sydney, back in the day."

Nora Charles (Hunter And Bligh)

 

"The STC production is a long way from dun-coloured journalism, with the first play bright with ensemble activity and music — so much so that you almost expect it to become full-blown musical theatre. With clever staging and a large and disciplined cast, the production brings to life the novel’s soap-opera narrative of hard times…"

Susan Lever (Inside Story)

 

"Every now and then there are very special pieces of epic theatre that sweep audiences up in their story over several hours… The Harp In The South, performed over two parts, has a similar power – and is surely destined to become a classic of Australian theatre. … Nick Schlieper’s lighting is incredibly evocative and the music (The Sweats) and sound design (Nate Edmondson), which moves from Irish songs to a harsher score in Part Two, works a treat. … All in all, this is superlative theatre. … You can see both parts in one day (a richly rewarding experience) or at separate performances. Either way, don’t miss it."   ★ ★ ★ ★ ☆

The Daily Telegraph

 

"It takes time to create a theatrical experience as rich as this. And also love. … Renee Mulder’s costumes, Nick Schlieper’s lighting, the Sweats’ composition and Nate Edmondson’s sound design all contribute to a shifting sense of scale, as the action zooms in on lovers and family members and out to the people in the streets around them."

The Australian

 

Torch Song

Trilogy

[Australia, 2018]

 

"A wonderful, funny, poignant, moving and thought-provoking production of this ground-breaking play, which is still extremely relevant today."   ★ ★ ★ 

Lynne Lancaster (Arts Hub)

 

"Finger clicks to Sydney’s newest jazz club, the Eternity Playhouse, which is gently swaying to some very smooth sounds. The American songbook – Gershwin, Porter, Holliday and the like – is in the capable hands of top-rate crooners channelling love and loss in the smoky, dimly lit confines. … It makes Torch Song Trilogy, at least this commendable production, some sort of minor miracle. Go for the songs. Stay for every wonderful moment in between."   ★ ★  

Jason Whittaker (Daily Review)

 

"Colyer uses music, and some appropriately glamorous musical theatre imagery, to drive and reflect upon the action, with Phil Scott musically directing from a grand piano at the back of the stage, confidently tackling everything from Gershwin to a jazzy take on one of Pink’s ballads. … In the hands of a less astute director or cast, Torch Song Trilogy could easily feel like a museum piece. But when the performances are this fine, it’s impossible not to be transported to Arnold’s world and experience the heartbreak, joy and defiant richness of his life."   ★ ★  

Ben Neutze (Time Out Sydney)

 

"This is a stunning production where writing, direction, design and acting come exquisitely together. … The three plays are funny, witty, warm … yet heart-breakingly realistic. This revival by Stephen Colyer of his 2013 production finds the all of this and more. … The skilful alliance between sound designer and musical director achieved by Nate Edmondson and Phil Scott is testament to their innovation and vast theatrical experience. … Stephen Colyer’s production of this iconic trilogy gives it the elegance, lustre and sophistication that 'the chutzpah of Fierstein’s creative spirit' deserves."

Carol Wimmer (Stage Whispers)

 

"This production by Darlinghurst Theatre Company is a reprisal of director Stephen Colyer’s much lauded 2013 production and is every bit as good. … You must see this production."

Rita Bratovich (Alt Media)

 

"If you've never seen Torch Song Trilogy you'll not see it more lovingly made than with this production."

Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"Torch Song Trilogy is a beautiful, thought provoking and unfortunately still relevant work… Touching stories presented in three distinct styles all set to beautiful renditions of famous torch songs with additional incidental music that ranges in style all presented live. Do not miss this wonderful production."

Jade Kops (Broadway World)

 

"The play is so well written, and produced with such sincerity, that Torch Song Trilogy engrosses you into the world of living an ‘out’ life in the 20th century, and leaves you questioning, has anything really changed? Torch Song Trilogy is an experience like no other with a high quality production value that will leave you feeling Arnold’s pain long after it has ended."   ★ ★  

Cassie Cheeseman (On The House)

 

Julius Caesar

[Australia, 2018]

 

"Verity Hampson’s simple lighting, subdued but for the assassination’s strobing effects, is contrasted with Nate Edmondson’s dramatic music. ...overall it intrigues and enhances the play’s dark psychology. … This production of Julius Caesar does a lot with very little…"   ★ ★ 

Patricia Maunder (Limelight Magazine)

 

"The virtue of this pared back, ‘poor theatre’ production of Julius Caesar is its simplicity – and therefore its clarity. … The citizens of Rome, swayed this way and that by the forces at play, are represented (after scene one) by most evocative bursts of music and sound from sound designer Nate Edmondson. … What we do get with this production is the play stripped to its essentials so that it can be clearly seen… it will undoubtedly provoke discussion of the characters’ motives and why the play matters now."

Michael Brindley (Stage Whispers)

 

"Director James Evans has created a vision of the Roman Republic as some sort of … steampunk world, with … a cinematic soundtrack…"

Cameron Woodhead (The Age)

"Ribaldry, humour, serious focus... clever theatricality… are all entwined to bring us Shakespeare’s blockbuster chronicle of demise by power in their newest outing, Julius Caesar. … This is true Shakespearean theatre. Alive and relevant to its age, speaking directly to the humours and irritations of his audience… This play has layers and layers of ironic truth and builds to a bloody and compelling crescendo before interval… Nate Edmondson’s composition is the extra player in this version, enveloping scenes as music does on film, amping up the obvious drama whilst giving other plot information, making theatre resemble cinema for the Netflix generation. This version is edgy, industrially distressed, and a metaphor for the state of the world today. … We see non-textual drama tell us about mood, emotion, fate, and bestial betrayal. The whole presentation has a feel of dark portent and inevitable undoing, and of ritualism, deep in theatre’s classical roots."

Sarah Wallace (The Plus Ones)

"…her ‘Friends, Romans, countrymen…’ oration swells and ebbs with symphonic grandeur. … The production’s strongest suit is Nate Edmondson’s score, which layers in some missing drama and tension."

John Shand (Sydney Morning Herald)

 

"The bleakness of Anna Tregloan’s scaffold set design and urban grunge costumes were emphasised by Nate Edmondson’s industrial sound design. … There was no chorus role – by necessity in a small production – so the fickle mob reactions to the political intrigues were expressed through the soundscape."

Rosalind Appleby (Noted)

 

"Bell Shakespeare’s Associate Director James Evans’s production is a fierce one. …the drama just builds from there with Edmondson’s score thundering away in the background. Nate Edmondson’s very dramatic soundscape is one of the main features of the production. … Recommended."

David Kary (Sydney Arts Guide)

 

"Nate Edmondson’s music and sound design added nicely to the atmosphere of the set and lighting design. The dystopian world created by James Evans’ production is stark and uncompromising. It’s a fine production that works well even if it is discomforting."

Len Power (Canberra Critics Circle)

 

"Sara Zwangobani provided the high point with her performance of Mark Antony’s famous funeral oration, which was punctuated with thundering crescendo’s from Nate Edmondson’s cinematic score."

Bill Stephens (Australian Arts Review)

 

"An appropriately modern tone is injected by director James Evans, who assembles for the production, a satisfyingly cinematic look and feel. Music by Nate Edmondson is particularly noteworthy. Luscious, bold and flamboyantly epic, sound proves itself this staging’s most reliable element, whenever we begin searching for explanations to the goings on."

Suzy Wrong (Suzy Goes See)

 

"Nate Edmondson’s sound design is very dramatic, with composition that is bold and almost imposing at times. A rare opportunity to catch one of Shakespeare’s less often performed works, with this thoughtful, strongly acted incarnation from Bell Shakespeare."

Kimberley Shaw (Stage Whispers)

 

"But those rankled by contemporary contrasts to classic prose may screw their faces up at the thunderous musical accompaniment to the show, a score that sizzles and crashes to a crescendo as Sara Zwangobani’s Mark Antony takes to the pulpit do deliver her speech at Caesar’s funeral. The music adds to the drama and power of what is a crucial turning point in the play — but would also not be out of place in a Michael Bay blockbuster. I liked it."

Cameron Myles (WA Today)

 

"…Nate Edmondson’s sound design and music…feels like the result of an … alliance between Hans Zimmer and Philip Glass."   ★ ★ ★ ☆

William Yeoman (The West Australian)

 

"The sound design was interesting, using discordant music at times to heighten the drama… Instead of vocal shouts of the crowd during the long speeches, these unidentifiable noises filled the pauses and created a clever impression of the sometimes inhuman nature of a large and unpredictable horde."

Satima Flavell (Perth Shakespeare Club)

 

"In the absence of crowds in the Forum or legions upon the battlefield of Philippi, Evans judiciously edits text, doubles up roles and stylises action sequences. Nate Edmondson’s composition and sound design represent the crowd’s responses."

Peter Wilkins (The Canberra Times)

 

"Sara Zwangobani epitomised the power of persuasion in her nuanced and effective delivery of Mark Antony’s rousing ‘Friends Romans and Countrymen’ oration. I doubt I have experienced it presented so powerfully either on stage or on screen. It worked brilliantly with Nate Edmondson’s music score and Anna Tregloan’s masterful set design while supported with some eerie ensemble movement work. This scene alone made the production worth a visit."

Joe Woodward (City News)

 

"The most exciting part of the show is Nate Edmondson’s music. It’s mesmeric, dynamic and just downright epic."

Alana Kaye (Theatre Now)

"Superbly staged…"

Geraldine Worthington (Molong Online)

 

The Rolling Stone

[Australia, 2018]

 

"This is one of the most powerful and disturbing pieces to have appeared on Sydney stages this year. … Cook’s direction is never heavy-handed; it ensures our attention is fixed on the characters and the interactions between them in navigating their courses. Nate Edmondson’s compositions support the performances, drifting in and out of the background and subtly but effectively enhancing integral moments."   ★ ★ ★ ★

• Tim Garratt (Theatre People)

 

"The design elements bring the story together seamlessly. Isabel Hudson (set), Sian James-Holland (lighting) and Nate Edmondson (sound) have fused together all elements to provide a space in which the pain, love and atrocity play out. …there is an objective approach which compels us to consider just how high the stakes are. Cook has a firm hand on the play and a clear vision, moments of humour are beautifully placed to that the story is never maudlin. Transitions keep us on the hook. … Both the writer and production have welded the unwieldy into a memorable night of theatre."

• Kate Stratford (Theatre Now)

 

"With a gentle hazed space the lighting design, by Sian James-Holland, creates a crisp feel to the heat of the drama on the stage in its many changes of location, supported by an often near subliminal sound composition and design, by Nate Edmondson (and Ryan Devlin). … The Rolling Stone is a powerful play, and in this production from Outhouse Artistic Director, Jeremy Waters, continues that company's spot-on curatorial eye to the important international plays and writers that we in Sydney, would otherwise not encounter. … The Rolling Stone is as much a 'must see' as The Flick was, a few weeks ago. Do not miss."

• Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"…it’s a neatly constructed work and incredibly lean and precise in its storytelling. Adam Cook has directed a production that matches the script’s melodrama at every step… Isabel Hudson’s stripped-back set and Nate Edmondson’s sound design gently support the action..."   ★ ★ ★ 

• Ben Neutze (Time Out Sydney)

 

"Adam Cook has, as usual, found the depth and poignant intensity of the characters Urch has created and brought them into stark, moving authenticity in this compelling production…"

• Carol Wimmer (Stage Whispers)

 

"…the play best manages its nuance and most compelling treatises as it steers towards a very moving, unexpected finale."   ★ ★ ★ 

• Glen Falkenstein (Arts Hub)

 

"...Adam Cook’s spare but visually attractive production is very gripping. …the emotional terrain of the piece is very well covered and the play’s climaxes capably scaled. … Recommended without hesitation."   ★ ★ ★ 

• Jason Blake (Audrey Journal)

 

"This production is infused with music, Let It Shine hymns to cleanse the palate before the horror of hate speech escapes some lips. ... A lesser director might have thrown a musical underscore at the emotion but here there is simply, elegantly, a cicada hit of the outside world. Just one of the stunning elements of Nate Edmondson’s audio design. Completely eschewing any cultural appropriation, the audio, music and soundscapes both, simply sneak in under events to highlight emotion or response. ‘Do you love me?’ comes with a slight sound effect to render the answer ambiguous. A boat on a lake barely surrounded by noise, an ‘I’m outside’ hit of cicada and masterfully, a sudden cessation, a pulse and a fade in the music score at important moments. Not to mention the evocation of cello and strings into the second act after interval. … It is blindingly good … impassioned and compassionate, intelligent and emotional."

• Judith Greenaway (Sydney Arts Guide)

 

"...this astounding production just has to be experienced. It is profound, hard-hitting and devastating. Outhouse Theatre has a production to be extremely proud of and one I imagine will feature in theatre award ceremonies to come. … Sound plays a huge part in this production, with gospel church songs of praise overlaying the desperation of Dembe and Sam's situation."

• Emma Caldwell (Weekend Notes)

 

"There are noteworthy technical elements in the production… Ryan Devlin and Nate Edmondson keep music and sound design understated, but there is no denying the efficacy, and elegance, of what they accomplish."

• Suzy Wrong (Suzy Goes See)

 

"This production of The Rolling Stone is one of the most powerful and beautiful performances of the 2018 Sydney season."

• Lisa Thatcher

"…as the production ... moves into the tenser second act, the drama becomes gripping. … The devastating ending is beautifully handled by Cook whose eloquent, understated staging leaves us heart in mouth."   ★ ★ ★ 

 • The Daily Telegraph

 

 

Blackie Blackie
Brown

[Australia, 2018]

"Filmic influences, particularly in relation to the cartoonish violence being portrayed, are cleverly incorporated in this live meets video amalgamation... Also marvellous is the work on sound by Nate Edmondson and Steve Toulmin, who keep adrenaline pumping for the duration of the piece, having us under control with an exquisite blend of sounds that seems to have direct authority over our viscera. Technical aspects… are complex and precise, and there is no denying the scale of ambition necessary for this show to come together…"

• Suzy Wrong (Suzy Goes See)

 

"I’m not usually one to go for an exaggerated, Tarantino-esque entertainment experience – but after seeing award-winning playwright Nakkiah Lui’s latest play, maybe I just needed it served up with some relatable political discourse. …we are given generous servings of Lui’s no-holds-barred commentary on a wide range of issues affecting Indigenous peoples …delivered in a larger than life show that melds live action, cartoonish animation, video projections and clever prop work."   ★ ★ ★ ★ ☆

• Emily Nicol (The Guardian)

 

"Enter Blackie Blackie Brown, which even warns us of its intent at the outset, with huge projections shouting that this is not a story about 'reconciliation' or 'forgiveness', each point reinforced by frightening blasts of sound."   ★ ★ ★ ★

• John Shand (Sydney Morning Herald)

 

"The combination of cartoon graphic animations and characters pre-recorded on video interacting with live actors could be jarring and chaotic, but it works seamlessly."   ★ ★ ★ ★ ☆

• Kath Kenny (Daily Review)

 

"Everything is tightly wound and every reference is on point. He also keeps the tricky technical elements in check – including superb and integral animations by Oh Yeah Wow, and a superhero-worthy soundtrack…"   ★ ★ ★ ★

• Ben Neutze (Time Out Sydney)

 

"The show's design ... is equally eye-popping, offering an inspired solution for transporting this story from the stage to the (comic book) page. With its use of dynamic projections with a pop art aesthetic, this is as visually thrilling as any new production of chamber-scale I've seen in recent years, and a truly impressive example of what exciting possibilities exist when stagecraft is trusted with as much narrative responsibility as the actors…"   ★ ★ ★ ★

• Maxim Boon (The Music)

"The interweaving of projections and live action is complex and highly choreographed (and this is also mined for meta-humour) and while it was all pretty tight on opening night – there’s punchy rawness and energy to the staging… Text and images projected on the slanted floor of the stage – from sci-fi style mission objectives to television news reports – were an effective part of the eclectic wash of media… ...through this Lui also dissects the tropes of theatre, film and popular culture, wielding them virtuosically in an irreverent, multilayered collage that will have you on the edge of your seat from start to finish."   ★ ★ ★ ★ ☆

• Angus McPherson (Limelight Magazine)

 

"The work crosses a number of genres and therefore the animation draws on traditional comic strip captioning, anime imagery, classic arcade and computer game references, corny B-grade cinematic strategies, science fiction film scene setting and traditional Aboriginal artwork whilst also incorporating a number of television news headline snippets… The mood is heightened further by … cinematic compositions and sound design that utilises attention grabbing chords, seat rumbling bass, arcade game themes and classic cartoon sound effects."

• Jade Kops (Broadway World)

 

"The play’s fantastic mix of lighting, animation and choreography make this show worth seeing alone. It’s not often that a superhero story can be successfully be told on a stage, but Blackie Blackie Brown does it very well. Animation by production team Oh Yeah Wow is used for the 'big budget' fight sequences we’re familiar with seeing in superhero films, adding an extra layer of both realism and surrealism to the work. Huge compliments to them for bringing the splattering blood and explosions to life in a way that theatre has rarely seen before."

• Davey Thompson (Yirramboi)

 

"The action is played through videogame-style cut-scenes and epic comic book blood sprays in the fight scenes. … sound design shifts between badass girl rap such as Azealia Banks and Okenyo, and superhero themes, which are perfect for the very female superhero feel of the show."

• Carissa Lee (Witness Performance)

 

"The superbly vivid content that features sharp lighting effects, spirits and spatters of blood makes for visually gripping theatre. This is aided by Oh Yeah Wow’s ingenious animation and Emily Johnson’s concept design that together beef up the lean cast of two. Director Declan Greene (of Sisters Grimm and current Resident Artist at Malthouse) uses their projections – with animated characters interacting with live performers – in a novel blend of theatre and film."

• Lois Maskiell (Theatre Press)

 

"There’s no point to reading this review of Nakkiah Lui’ Blackie Blackie Brown. Just go. … The marvel of this Malthouse production is that no one element outshines the rest: each work in powerful, chemical tandem with the rest. … And the result is the kind of thing — to circle back — this reviewer doesn’t just encourage you to see, but implores you to experience."   ★ ★ ★ ★ ★

• Viv Mah (Theatre People)

"Following Blackie Blackie Brown along her quest for vengeance, this new Australian work is loud, provocative, bloody, and a lot of fun. … There is so much going on with this production. …add on top of that elaborate and hilarious projections ...and the show very quickly becomes something so much bigger than a play. … Even with the outrageous plot and overwhelming design, this is a production that speaks directly to its audience and contemporary context without sugar-coating or tempering. It’s an outspoken piece of contemporary activist theatre on Sydney’s largest stage and I hope, in years to come, it will not stand alone."

• Night Writes

 

"This play is a sleek, colourful, fast-paced adventure that brings the house down with its acerbic sense of humour. Utilising incredible projected animations…"   ★ ★ ★ ★ 

• Andrea Simpson (Arts Hub)

 

"The icing on the cake is the lighting and sound design and animation. This is a great team collaboration. Strap in, you’re in for a bumpy but brilliant ride."

• Steve Dow (The Monthly)

 

"Indigenous Australia’s fight for justice and equality is given superhero treatment in Blackie Blackie Brown. We may well be looking at the stage equivalent of the movies Deadpool or Kick-Ass. Exaggerated theatrics are liberally supplemented by evocative graphics, animation, mock television news reports, and mood lighting. … The buzz is real for Blackie Blackie Brown with good reason. It’s a night of theatre you are unlikely to forget in a hurry."

• Alex First (The Blurb Magazine)

 

"…Declan Greene has created a brilliantly entertaining work with delightful visuals and technical feats. While modern theatre can sometimes be lessened by videos and other whiz bangery, here it works wonders. The animation is key to bringing this comic-book idea so deftly to stage. … But above all this is entertainment. And never before have I seen such great animation (integrated with skilled acting) on stage."

• Peter Gotting (Stage Whispers)

 

"This is quite an extraordinarily bold and provocative new show that, like most good political satire, is a heady mix of both silly and serious. … Given the presumably prerecorded nature of this large amount of supporting content, its illusion of interaction with the live cast must have been a nightmare for technical rehearsal, yet the result is extremely impressive and virtually without any hitch. Accompanied by compositions and sound design … providing everything from atmospherics and a speaking computer (a vocal cameo by Peter Carroll) … the show is a feast of soundscapes and almost overwhelming graphical diversity."

• Jack Teiwes (Australian Stage)

"Blackie Blackie Brown is fierce and funny …a 90 minute show with 70-minutes of weapons-grade material."   ★ ★ ★ 

• Jason Blake (Audrey Journal)

 

"Much of the play’s charm comes from its tone, where essential topics are clearly articulated via the cinematic nature of the production which also proceeds at a rapid pace. This is a quality production that looks good, moves fast and, as you would expect from the STC, there is immense talent on display. This talent is especially located in the wings, where an impressive production team … all of whom are truly the superheroes of this show. Cinematically staged, this show is certainly worth a look."

• Geraldine Worthington (Molong Online)

 

"The music and sound design … takes us into the action movie and then sometimes pulls us back again. The effect is very unsettling and enables the creators to raise some difficult questions."

• John McCallum (The Australian)

"Technically, the production is probably the most ambitious the Beckett Theatre has ever seen… loud and colourful and heaps of fun."   ★ ★ ★ 

Tim Byrne (Time Out Melbourne)

 

 

Good Cook.
Friendly. Clean.

[Australia, 2018]

 

"The play is directed with a brisk superficiality, promulgating a brusque tempo by Marion Potts … enveloped dramatically with composition and a sound design by Nate Edmondson. … Go, see."

• Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"…Good Cook. Friendly. Clean. is a very well executed and timely commentary on the short-comings of the current housing market."

• Joy Minter (The Buzz From Sydney)

 

"The design of the show is a tribute to Liertz, Berlage and Edmondson, as well as Potts, who no doubt commands a tight and focused production. All these elements blend well together to deliver a show that is both entertaining and disturbing."

• Felicity Nicol (Theatre Now)

 

"Sound designer-composer Nate Edmondson punctuates her journey with anachronistically peppy bursts of electronica as Paterniti and Bazzi represent the unacceptable face of the capitalist rental market. … Directed by Marion Potts, in a welcome return to a Sydney stage, Good Cook. Friendly. Clean. is a remarkable production. … I had a lump in my throat, it scared me, and I loved it. Recommended."

• Diana Simmonds (Stage Noise)

 

"Robinson’s terse dialogue is well-served by taut direction (Marion Potts), a snappy production (an in-progress renovation designed by Melanie Liertz; jarring blasts of techno from Nate Edmondson)…"   ★ ★ ★ ☆

• Jason Blake (Audrey Journal)

 

"The piece clocks in at approximately 75 minutes, and Potts ensures the pace moves quickly and orchestrates the change of tone from frivolous to sombre at the appropriate moment in the script, making sure there are glimpses of Sandra’s escalating angst prior to that time. Scene changes are well choreographed moments and nicely underscored by Nate Edmondson. Good Cook. Friendly. Clean. is highly engaging while disturbing, principally because it rings so true to life with the precariousness of home."   ★ ★ ★ ☆

• Tim Garratt (Theatre People)

 

"Marion Potts directs this strong story with pace and fluency but at the same time augments the pared-back dialogue to reveal a carefully constructed world hampered by grief. This is a most understated drama which explores in a very novel way the omnipresent topic of land and home in 2018, and probably the decades to come. Worth a look."

• Geraldine Worthington (Molong Online)

 

 

"This play is a masterclass in how to pace a drama. Outhouse Theatre’s adaptation of Annie Baker’s The Flick is one of the must-see plays of the year. … A superbly crafted piece of theatre that will get under your skin, The Flick is one to catch."   ★ ★ ★ ★ ☆

Glen Falkenstein (Arts Hub)

 

"With outstanding performances and superb sound composition by Nate Edmondson, The Flick connects itself strongly to a world that is both passing and not moving fast enough. Outhouse Theatre Co. can always be relied upon for beautiful, thought provoking theatre, but they have surely outdone themselves with The Flick."

Lisa Thatcher

 

"Nate Edmondson captures the soundtrack of the film genres of this flickerhouse, and designs a 'tinny' stereo, that is so inferior in quality that it evokes, captures, a remembered time of the valiant suburban theatres' determination to attempt respectful quality of 'showing' - ahh, the memory of the cinema venue in Kogarah! … I recommend this play and production."

Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"Nate Edmondson’s sound composition and design evokes reels and sprockets and epic soundtracks. Epic in the magic it conjures from the mundane, The Flick shows that the problems of three little people DO amount to a lot more than a hill of beans in this crazy world."

Richard Cotter (Australian Stage)

 

"The Flick is as beautifully made as it is performed. … You can almost smell the popcorn. Martin Kinnane’s lighting and Nate Edmondson’s soundscape (which uses the clatter of a projector gate to amplify the intensity of the drama as it unfolds) is exemplary."   ★ ★ ★ ★

Jason Blake (Audrey Journal)

 

"Both theatre and cinema black out simultaneously. Loud music heralds the credits of a movie. Lights come up on the empty cinema, littered with spilt popcorn. … The repetitive scenes are transitioned by brief black outs, flickering light from the projection box and aisle lights, the clicking of the projector itself and theme music as credits role. … ‘Connecting with the fullness of each other’s humanity takes time … it takes investment, patience and detailed care’ – all of which Baldwin and his team have given to this long, very intense but compelling production."

Carol Wimmer (Stage Whispers)

 

"Music paying tribute to genres of film, are meticulously crafted by Nate Edmondson, who also creates a variety of unmistakably unique sounds, in the form of whirrs and purrs to be heard emanating through the walls whenever we congregate for a movie. … Led by stage manager Steph Kelly, technical aspects are remarkably well managed for this production of The Flick. … The Flick is completely satisfying…"

Suzy Wrong (Suzy Goes See)

 

"This is dangerous theatre. You feel it testing your responses, stamina, patience and involvement. … This is work that seeps into your bones and haunts you thereafter, twisting from a mania for cinema to unrequited love; from subtle racism to glacially slow-moving workplace politics of envy, gratitude and resentment. A major work, it is intimate, tender, devastating, funny, infuriating and oh-so finely observed, and, once again, the commendably consistent Outhouse Theatre has done Baker proud. …I've just seen a truly significant piece of theatre."   ★ ★ ★ ★ ☆

John Shand (Sydney Morning Herald)

 

"The production elements are excellent, the acting terrific, there’s lots for the movie buff, so much to appreciate. … The audio rips through genres as we hear snippets from Barrabbasy Ben Hur-ish epic through French New Wave to Irish inspired Titantic-ness.  And the many speakers around the set add to the ambiance."

Judith Greenaway (Sydney Arts Guide)

 

"The music from a film soundtrack swells as the beam of light from a projector shines directly at us. Then the house lights come up on a small, run-down cinema, the seats of which are like a mirror image of the theatre where we sit, with the cinema screen as the fourth wall at the front of the stage. … Not a lot seems to happen on the surface of Annie Baker’s ineffably tender play The Flick but by the end of it you are so completely caught up in the small human dramas that gradually unfold that you are profoundly moved. … Craig Baldwin directs a pretty flawless production for Outhouse Theatre Co. and the Seymour Centre. … Mesmerising theatre."   ★ ★ ★ ★ ☆

Jo Litson (The Daily Telegraph)

"The staging of The Flick is a masterpiece. The Seymour stage has been transformed into a cinema, and above the seating is the projection booth, from which we are given the impression of movies being projected between scenes. … This play has two weeks to run and deserves sell-out crowds."

Jenny Bromberger

 

The Flick

[Australia, 2018]

 

 

Diplomacy

[Australia, 2018 & 2019]

 

"Lights by Matt Cox and sound by Nate Edmondson, are elegant, both suitably restrained and minimal in approach."

• Suzy Wrong (Suzy Goes See)

 

"Nate Edmondson delivers a typically creative and enhancing sound design…"

• Diana Simmonds (Stage Noise)

 

"With lighting by Matt Cox, sound by Nate Edmondson and costumes by Genevieve Graham, Bell’s assured production unfolds seamlessly on an evocative set by Michael Scott-Mitchell."   ★ ★ ★ ☆

• Jo Litson (Limelight Magazine)

 

"Nate Edmondson‘s sound did well to contribute to what rising tension existed in the production."

• Lynden Jones (Theatre Now)

 

"In this astonishingly powerful production of the play, more or less a two-hander, we witness army general and military governor of Paris, Dietrich von Choltitz (John Bell), in his suite in the Hotel Meurice, Paris, 1944. … This perfectly formed play and its players is the stuff that theatres are built for. The risk, the tension, the danger and doubt and the unravelling of our conscience. … A defining moment in the theatre."   ★ ★ ★ ★ ★

• Margaret Helman (Sydney Scoop)

 

"Lighting by Matt Cox and sound by Nate Edmondson create great atmosphere. It’s not often that such a stimulating and well-crafted play comes along."

• Bronwyn Fullerton (Sydney Arts Guide)

"…this lightly fictionalised portrayal of extraordinary true events from the Second World War makes for a totally engrossing night of theatre… For anyone who considers 'talky' plays tedious, this terrific and intimate production should serve as the perfect antidote. Its brilliant performances and captivating subject matter are sure to thrill all but the shortest of attention spans. Highly recommended."

Jack Teiwes (Australian Stage)

 

"Poised at a pivotal few hours in history  and with virtually no action, Diplomacy is a story reliant on atmosphere. Nate Edmondson’s ominous rumblings help establish the mood…"   ★ ★ ★ ☆

Kate Prendergast (State Of The Art)

 

"The plot, the script, the acting and the production is as tight as you’ll ever see. … The all-round success of this production would not be possible without the professionalism of the creatives. Detailed costuming (Genevieve Graham), effective lighting (Matt Cox) and brilliant sound effects (Nate Edmondson) all contributed to setting a tense mood in the theatre. Diplomacy is a remarkable story and a remarkable play."

Paul Kiely (The Blurb)

 

"This production is also directed by Bell, with an interesting and thought-provoking monochrome set from Michael Scott-Mitchell and appropriate soundscapes from Nate Edmondson."   ★ ★ ★

Alana Kaye (Theatre Now)

 

"This is a play, and a production, to take you out of your body into the realm of what-if. … Forced upon one by the explosive shelling or discretely paralleled with the obfuscation of our chosen moments of contemplative absence. The audio, too, evokes and shocks at a perfectly operated level. (Set design: Michael Scott-Mitchell; Lighting: Matt Cox; Composer and Sound Design: Nate Edmondson; Costume Design: Genevieve Graham)."   ★ ★ ★ ★ ☆

Judith Greenaway (Reviews By Judith)

 

"The work, directed by Bell, with set design by Michael Scott-Mitchell, costume design by Genevieve Graham, lighting design by Matt Cox, and sound design by Nate Edmondson, is a wonderfully crafted compact story. … Don't miss the opportunity to experience this fine performance by greats of Australian theatre."

Jade Kops (Broadway World)

 

"…back at the Ensemble for a return season of this polished jewel of a production. … Highly recommended."

Carrie Kablean (Megaphone Oz)

 

"The turbulence of occupied Paris was confected superbly by sound designer Nate Edmondson, particularly in the blasts of the last scene, where von Choltitz considers the challenges that lie ahead."   ★ ★ ★ ☆

Sylvie Woods (Arts Hub)

 

"There are no bells and whistles, only theatre with clarity. … For anyone interested in Bell, short and incisive theatre, or the possibilities of war and WWII, this is an alluring flame on the Sydney theatre landscape."   ★ ★ ★

Sean Maroney (The Music)

 

 

Three Sisters

[Australia, 2017]

 

"Chekhov’s text is full of references to the Russian classics, like Pushkin, Lemontov and Gogol, which would have been familiar to his audiences but are less so to a contemporary Australian audience. Upton instead draws on a more familiar cultural heritage, sprinkling the dialogue with nods to Shakespeare, with the music of Bob Dylan standing in for folk-song references. … This reimagining of Chekhov’s Three Sisters brings the Russian playwright’s masterpiece into a uniquely Australian idiom, offering plenty of laughs with characters and attitudes that are often strikingly and disturbingly familiar – but in the end it’s a brutal, scouring piece of theatre."   ★ ★ ★ ★

• Angus McPherson (Limelight Magazine)

"Kip Williams, the millennial artistic director of Sydney Theatre Company, has directed a Three Sisters for the current zeitgeist. It’s a play that evokes the anxiety of having too many tabs open in your browser, knowing you’ll never read all the content that’s available to you. It’s unfocused and restless; characters talk around and beyond each other, avoiding eye contact and genuine engagement. There is constant noise – from dueling conversations, from boom boxes and a piano – an unplugged version of our constant information overload."   ★ ★ ★

• Cassie Tongue (Time Out Sydney)

"As is characteristic of director Kip Williams’ style, the show is presented with remarkable polish and an impressive elegance. … Music by The Sweats and sound by Nate Edmondson help us locate the contemporary relevance in Chekhov’s story, whilst retaining its intrinsic sense of Russian austerity."

Suzy Wrong (Suzy Goes See)

 

"Few productions are blessed with both wonderful material and a team as extraordinarily talented as the one working on Sydney Theatre Company’s Three Sisters. …a design team featuring some of our most thoughtful and experienced theatre-makers."   ★ ★ ★

Ben Neutze (Daily Review)

 

"The lighting by Nick Schlieper and the composition by The Sweats and Nate Edmondson contribute to a growing feeling of alienation as these characters’ dreams begin to slip away."

John McCallum (The Australian)

 

"Nick Schlieper's fragile, atmospheric lighting accentuates the various moods Nate Edmondson’s sound design (planes flying overhead) and music by The Sweats accentuate the contemporary relevance of Chekhov's story (yet keep its Russian astringency). … This play was a fresh take on the dry, dreary trapped life of the three sisters and their friends who are full of existential angst."   ★ ★ ★ ☆

Lynne Lancaster (Arts Hub)

 

"…the standard of acting and stage design at Sydney Theatre Company is impressive to say the least."

Frank McKone (Canberra Critics Circle)

 

"The town’s garrison doesn’t march out of town to a jaunty band. They leave to the deafening rumble of jet planes, which is definitely more telling. … The soundscape is also bleak. Constant noises accompany the action, and can be heard even during the interval, a new thing."

Frank Hatherley (Stage Whispers)

 

 

"Let’s just be clear from the outset: this production is simply stupendous. Brilliant acting, superb design and an electric script collaborate to create a truly unique experience from Siren Theatre Company. ... Out in C Primo, Misterman is a little further out than the most central Fringe venues, but I guarantee this show is worth every step of the walk out there. If you have an interest in theatre, whether that’s an all-consuming addiction or a brief phase, go and see Misterman, you won’t regret it."   ★ ★ ★ ★ ★

• The 730 Review

"For a one-man play, Enda Walsh’s Misterman feels almost mythically large in its intensity. … Cramped into a small theatre on Hill Street, this version of Misterman uses containment and introspection to achieve its pressurised atmosphere of faith and frenzy. … In a dirty, derelict space, Magill obsessively relives and replays a day from his past with the use of tape recorders – like Krapp - and stage props; the day is constructed from fragments of speech he has recorded from the townspeople of Inishfree alongside a series of character portraits enacted live. … Much is made of hidden nooks and crannies, and the technical effects hit the right balance between simplicity and volume. Always teetering on the edge of violence, Misterman is a powerful examination of community, kindness and the line between faith and sanity."   ★ ★ ★ ★

Sam Fulton (Broadway Baby)

 

"A man stands alone in his grimy, makeshift home, conversing endlessly with voices from the reel-to-reel tape recorders that surround him. …this is a gripping, finely crafted show ... that crackles with dark energy."   ★ ★ ★ ★

• David Kettle (The List)

 

"There’s a surrealist vibe to it all – unsurprising given the nature of Enda Walsh’s script. Nate Edmondson’s compositions waft across the stage, initially all playing over each other to mimic the disorganised clutter around. Misterman contains many such devices, clever depictions of the jumbled state of Magill’s mind as he goes about his potentially real, potentially fictional day. … It’s a ticking time bomb of a show that explodes in the dying seconds."

• Daniel Perks (Culture By Night)

 

"By the time Laura Marling’s Devils Spoke rang out at the end of the performance, some audience members’ tears were in freefall. ‘All of this can be broken, hold your devil by his spoke and spin him to the ground.’ So goes Marling’s verse, rather prophetic of Enda Walsh’s Misterman itself. … In short, utterly captivating."   ★ ★ ★ ★ ★

• Chloe St George (The Reviews Hub)

 

"Misterman is a big performance made for a small theatre. The one man show performed by Thomas Campbell has a strong production team behind it, proven by the finely tuned sound and lighting, and cleverly choreographed performance all round. ... The voices of other villagers are heard through a collection of composed tape recordings in addition to Campbell’s own impersonations. These all make for a great theatrical experience. … This is a very well-delivered and clever production and the moments of violence and drama are truly captivating."   ★ ★ ★ ★

• Rachel May (Edinburgh Festivals Magazine)

 

Misterman

[United Kingdom, 2017]

 
 

 

"A fine performance, delivered from the heart in a way that seems authentically autobiographical. The languid meandering of the often lyrical script flows with the soundscape and music. … High on the wall of the theatre space can be found in gilt letters ‘Behold how good and how pleasant a thing …’ How apt."   ★ ★ ★ ★

• Kenneth Scott (Edinburgh Guide)

 

"…beautifully performed by Jane Phegan directed by Kate Gaul with a soundscape by Nate Edmondson, design by Alice Morgan, lighting design by Louise Mason in a massive rig from C founder Hartley Kemp. I credit everyone because although the spotlight was on the solo actor, it was an ensemble of fine creative artists who made this work the complete heartfelt experience I love. … Last year Simon McBurney took me down the Amazon in The Encounter. Yesterday Jane Phegan took me back there in the role of Noëlle – allowing me time and space to see the ever changing sky above and the wide open water below as she travelled through Brazil in the spirit of adventure her father would have been proud of – had he not been trapped, himself, in the endless roadmap detours of a decaying brain in a hospital bed."

• Chris Grady

 

"Nate Edmondson’s originally composed soundtrack is an absolute pleasure. Discreet but engaging, it guides the account with well-structured returning motifs and familiar sounds, like a water-flowing effect. Supplying the necessary context, it plays an essential role in setting the mood of each individual scene, and compensates the understated (but beautiful) design and limited use of props. More of a tribute than an actual adventure journal, Good With Maps doesn’t have many surprises in store for the audience but its evocative production values and approachable storyline are highly enjoyable. Nate Edmondson’s original music score is a journey in its own right."   ★ ★ ★ ★

• Marianna Meloni (Everything Theatre)

Good With Maps

[United Kingdom, 2017]

 

 

"Ensuring that the work’s confrontational qualities are retained is director Kip Williams who pairs a flamboyant theatricality with a keen eye for detail, delivering a show that is as entertaining as it is challenging, and quite surprisingly, profoundly moving."

• Suzy Wrong (Suzy Goes See)

 

"Director Kip Williams cleverly coordinates the drama and orchestrates and accentuates the plays theatricality. It is by no means a perfect play, but the STC production values are certainly five-star — lighting, set, costume and music (Alexander Berlage, Elizabeth Gadsby, Nate Edmondson) — and are all worth the price of admission alone. … Thumbs up!"

• Geraldine Worthington (Molong Online)

 

"It jangles its way through a variety of theatrical manoeuvres. It is playful and potent, titillating and thoughtful. … In this production, directed by Kip Williams, the theatrical effects balance the visual and the textual. ... The messy happiness of Cloud Nine lingers."

• Gareth Jones

 

"The creative team of designer Elizabeth Gadsby, lighting designer Alexander Berlage, composer Chris Williams and sound designer Nate Edmondson has produced a place that is fresh, acute and timeless – as is the play.  … Cloud Nine: absolutely recommended for loads of laughs and clever stuff."

• Diana Simmonds (Stage Noise)

 

"Kip Williams’ take on Cloud Nine functions like a series of vignettes; blackouts and an atmospheric score mark the transition between individual scenes. He is unafraid to stretch the playfulness of the text which revels in its comedy. But his production also manages to engage with the text’s ideas about social roles and identity. It’s a captivating mix. Williams finds nuance within Churchill’s rollicking fun... In its interrogation of social labels, Churchill’s Cloud Nine unveils the extensive possibilities of theatre as entertainment to shatter social norms and provoke change. The actors close the show with another musical number — ‘Cloud Nine’ — that reflects on their new place in this more modern world. This time, the song is hopeful."

• Debbie Zhou (Seventh Row)

 

"All fears of getting lost or confused (and having to bluff through a review), were soon swept aside by the wonderful marriage of a splendid production and an always engaging narrative in a stunningly beautifully written play. … The play opens with an amusing Gilbert and Sullivan like song, but soon the traditional Victorian roles they are meant to follow begun to unravel. … The threads sweep towards a very moving conclusion."

• David Spicer (Stage Whispers)

 

"Let’s begin at the top. This is the BEST production I have seen at the Sydney Theatre Company (STC) for many a long year. Get your self a ticket ASAP. This production of Cloud Nine – a play by Caryl Churchill written in 1979 – is an absolute 'knock out'. … An intricate element of the production’s success is the music composition of Chris Williams and the sound design of Nate Edmondson, whilst the lighting design by Alexander Berlage is subtly supportive and beautiful. Cloud Nine is a must to see. …as relevant as ever. Besides, artistically, you will not have seen better at the STC for some time – the quality of the acting and delicacy of directing is astonishing and all inspired and supported by great writing from one of the living greats of our time: Caryl Churchill. Do go."

• Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"The title of Caryl Churchill's play Cloud Nine is a figure of speech rather than a true meteorological term, but that doesn’t stop it being a thundering theatrical storm with flash lightning performances in Kip Williams' production for STC. … The play begins with a rousing Britannia Rules type song belted out by the ensemble, marking out its cultural chauvinism, then proceeds to examine cultural concepts, constructs and constraints by subversion, inversion and pretty perversion. … Cloud Nine is a shape shifting, thought shaping, shibboleth shaking show that's shocking, sharp and shameless. This well crafted cast and crew ensure it's a cloud with a silver lining, that turns the dark inside out into a theatrical seventh heaven."

• Richard Cotter (Australian Stage)

 

"As the actors romp onto stage in Victorian era costumes, singing a boisterous Gilbert and Sullivan-style paean to England, the tone for the first act is immediately and hilariously established in Kip Williams’ brilliantly staged production of Caryl Churchill’s 1979 play Cloud Nine. … Williams’ passion for the play is evident and his production constantly hits the mark whether we’re laughing at the ribald comedy, gasping at some of the sentiments of the characters, or feeling their anguish. He and composer Chris Williams have interspersed the play with songs most effectively too. All in all, a wonderfully intelligent, stunningly staged production of an intriguing play."   ★ ★ ★ ★ ☆

• Jo Litson (Limelight Magazine)

 

"Kip Williams’s superb production, on a highly effective set by Elizabeth Gadsby, is a triumph, especially for one of the best casts assembled in Sydney for a long time."

• John McCallum (The Australian)

 

"In a bleak midwinter comes forth STC’s Cloud Nine – surprising, hilarious, shocking and magnificent. … The staging bespokes a Kip Williams production in its minimal design, allowing focus to solely rest upon its carefully selected cast. A layer of dirt covers the ground, upon it a glass box to which the actors retire occasionally to be “indoors” or in-scene but unable to be heard or seen by the other characters. Their voices projected outwards of the box. … Similarly moving throughout both acts were the songs sung by the characters, including a chilling chorus of ‘In The Bleak Midwinter’. … There is an all-encompassing blackout that happens between scenes, moments where you are left feeling entirely unaware of what will be happening when the lights return, and it is exactly this feeling of questioning that reflects the experience that is watching STC’s Cloud Nine. It is a puzzle, a thoroughly enjoyable one."

• Kat Czornij (The AU Review)

 

"Director Kip Williams’ production of Caryl Churchill’s 1979 masterpiece Cloud Nine starts with a Gilbert and Sullivan-esque musical number, establishing Churchill’s characters and their first-act world. Not only is it a useful guide for the various relationships and the hierarchy at play during that act — particularly useful when characters are played by actors who are often not the same gender, age, nor race as their characters — it sets the perfect tone and places all the characters clearly into their positions. … Williams throws the focus onto the text and characters, but that’s not to say his production doesn’t have its share of bold theatricality, thanks to composer Chris Williams’s songs, Alexander Berlage’s lighting and Elizabeth Gadsby’s design. … This is a wonderful production of a wonderful play, full of compassion for its characters as they start to change their own worlds — from the inside out."   ★ ★ ★ ★ ☆

• Ben Neutze (Daily Review)

 

"This is an impressive and carefully governed production directed by the Sydney Theatre Company's Kip Williams. …Cloud Nine remains a strongly affecting work."   ★ ★ ★ ★ ★

• Jason Blake (Sydney Morning Herald)

 

"This production is wonderfully crafted to balance the comedy with the seriousness of the underlying study of gender, power, sexuality and prejudice. … Chris Williams has composed some wonderful songs that help ground the work as they are woven into the work throughout the two acts. The standout vocals come from Backer as Joshua and Gerry but the whole ensemble handle the works well, capturing the comedy of the Gilbert and Sullivan-esque opening number and the poignancy of others. Cloud Nine is a beautifully created production that is a must see in terms of the blend of comedy, truth, shock, and continued relevance."

• Jade Kops (Broadway World)

"All production elements were fantastic…"

Alana Gatley (Love Always, Alana)

Cloud Nine

[Australia, 2017]

 

 

"The play uses animations and video projections onto the wall of the stage very effectively, to set the scenes and move the story along. There is also one part of the story which requires audience participation - my tip is to warm up those jazz hands. … Thai-riffic! is a fun introduction to live theatre for younger audiences."

• Weekend Notes

 

"Whilst Nate Edmondson's sound design is a touch too heavy at the start, it settles to a comfortable level to colour the work without overpowering. … Parents with a range of children can still bring younger or older children to the show and have them engaged and entertained whilst parents are also catered for as the work is presented with a maturity and respect for their audience, not talking down to the children. Thai-Riffic! is a brilliant school holiday offering that should not be missed."

• Jade Kops (Broadway World)

Thai-riffic!

[Australia, 2017]

 

 

"Also noteworthy is Nate Edmondson’s work on music, transportative and transformative in its effect, from scene to scene."

• Suzy Wrong (Suzy Goes See)

 

"Coloured cloths hang from the roof and corrugated iron shanty shacks with dodgy wiring border the playing space. It's so authentic and truly creates a world so vivid it was easy to forget I was in King's Cross and not Mumbai. This, coupled with the unnerving and eerie sound design and composition from Nate Edmondson creates a magical atmosphere of uncertainty and unfamiliarity that subtly brings the show to its climax. … The small playing space at the bAKEHOUSE Theatre provides a challenge for a cast of this size, but Millar's production navigates the stage with ease using dreamlike choreography and layered staging to contrast gritty realism and trancelike fantasy."

• Emma Caldwell (Weekend Notes)

 

"Director Suzanne Millar's bAKEHOUSE Theatre production is vividly realised with elements of dance, unison movement and puppetry to the fore. … Staged in traverse, as is always the case in this venue, the production (designed by Millar and John Harrison) is spare but effective. Nate Edmondson's dense soundtrack of music, bird cries and sound effects contribute to the impression that Jatinga could be a story powerfully told in film someday."   ★ ★ ★ ★ ☆

• Jason Blake (Sydney Morning Herald)

 

"Jatinga is a highly provocative, intelligent and engrossing theatrical experience, which challenges romantic ideas of India. … The extent of the research conducted and involvement of creatives working on the ground in the region is evident, and it’s a credit to Millar and her team that they’ve worked to ensure the involvement of two Mumbai actors. There’s a tangible sense of authenticity about this production, and that very obviously owes to that care and thought in creating the work. … In speaking to Theatre People recently to discuss the piece, Millar spoke of her aim to put “a little piece of India on stage”, and this production achieves precisely that. Thanks to the performances, simple but beautifully incorporated movement content, Nate Edmondson’s lush and sometimes cinematic soundscape, and Benjamin Brockman’s sensitive lighting of the intimate theatre’s traverse stage, Jatinga creates a sense of being a genuine bystander to the unfolding events. It is original, it is important, and thoroughly gripping."   ★ ★ ★ ★ ☆

• Tim Garratt (Theatre People)

 

"...the story unfolds in a surrealistic juxtaposition of hard nosed contemporary reality and haunting folk myths in song, dance and puppetry (Puppetry Design and Construction by Aleisha Jelbart). The complicated and beautiful Lighting Design, by Benjamin Brockman creates a broad, and when needed, a detailed feature-guide, to help focus the audience's attentions for narrative impact, in co-hort, with a truly wonderfully culturally redolent soundscape of music and atmospheric support by Nate Edmondson. ...The visual and aural creativity to assist us to suspend our disbelief is first class. …this production of Jatinga is an ambitious contribution to the Sydney theatre scene and is outstanding in its achievement, and leaves one questioning the product, ambition and courage of more financially advantaged companies such as the Sydney Theatre Company, Belvoir and the Griffin. Australia Council and the relevant Government bodies ought to be taking notice. … The passion combined with artistic nous and invention as exampled here makes theatre of a most valuable kind. Modern and mythical India, alive in Kings Cross. Amazing. Do go."

• Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"Millar directs this production, and while it takes a few moments to warm up – the opening scene feels particularly stilted, though it has a rich payoff later – it soon falls into an irresistible blend of music (Nate Edmondson’s soundscape is particularly evocative), movement, puppetry, and arresting performances. … For one of our smallest companies to reach out so far beyond themselves to make a difference in the world is remarkable. The play is compelling and so is its reach, so don’t miss it – and next time a ‘cause’ on stage moves you, find out how you can help."   ★ ★ ★ ★

• Cassie Tongue (Time Out Sydney)

 

"The intimate setting made the play alternatively dramatic and jarring. The production lets you dive into the colourful culture of India, its enjoyment of song and dance. It’s not a ‘rags to riches’ story but a tale of struggle and strife. … Jatinga has an incredible mode of storytelling that propelled the magnificent and intense plot. ... It felt like a roller coaster experiencing the play’s world and left us at the edge of our seats, itching to know what happens next. Jatinga will leave you stunned and emotional with its energetic cast, colourful sets, costumes, and confronting themes."

• Kevin Rodrigueza (The Plus Ones)

 

"The ramshackle backstreets and alleys of Mumbai are brought to brilliant life in this evocative play about the journey of five young women seeking escape from a grim looking future. Such a story could have easily been a very long and depressing night of theatre, but it turned out just the opposite, full of laughter and imbued with a beautiful yet subdued mysticism. … Sound and lighting by dream team duo Nate Edmondson and Benjamin Brockman was idyllic as we were transported to Kamathipura, a village that enjoys the dubious distinction of being the oldest and second largest red-light district in Mumbai."

• Joy Minter (The Buzz From Sydney)

 

"It is wonderful that Naresh is putting women's stories on stage and showing the world a story from a region whose stories are not often told in western theatres. Drawing on the audience's imagination, flocks of birds are implied by a sweeping dance and Champa's hockey games are well choreographed to capture the energy and excitement."

• Jade Kops (Broadway World)

Jatinga

[Australia, 2017]

 

 

"One of the best independent productions of the year. …cast mates and director Rachel Chant's impressive production support her at every turn. … Detailed lighting (Hartley TA Kemp) and sound design (Nate Edmondson) add to the impression that this production could sit proudly on any mainstage in Sydney."   ★ ★ ★ ★ ★

• Jason Blake (Sydney Morning Herald)

 

"The stacked audience face a perfect little setting in which everything works – the doors, the upstairs bedroom, the rumbling pipes, the computer, the sink, the bike. The Sydney Theatre Company couldn’t wish for a more polished and convincing set. … Brilliant lighting by Hartley Kemp makes every bit of the set work and the compositions of Nate Edmondson fill every second of time between the scenes. Full marks to director Rachel Chant, whose desire for perfection is hereby duly noted."

• Frank Hatherley (Stage Whispers)

 

"Nate Edmondson's sound design gives the impression of a light sitcom, which the work does feel like on the surface, and includes a wonderful composition for Becky's bike ride to freedom."

• Jade Kops (Broadway World)

 

"Rachel Chant has directed a fine and smart production — which mostly manages to strike the right balance between light and dark… The production, designed by Anna Gardiner and Martelle Hunt is a smart use of the tiny Old Fitz space — taking place across two floors and three distinct locations — while Nate Edmondson’s compositions and sound design set the appropriate tone."   ★ ★ ★ ☆

• Ben Neutze (Daily Review)

 

"Although political and intellectual, the production is equally stimulating on other fronts. ... Sequences oscillate between comedy and drama effortlessly, with moments of breathtaking sexual tension giving an excellent sense of texture and dimension to what we see, hear and feel."

• Suzy Wrong (Suzy Goes See)

 

"The convergence of talent in Red Line Productions current staging of The Village Bike makes it a rare and thrilling theatre experience. … Definitely worth the ride!"

• Rita Bratovich (Alt Media)

 

"Their newly renovated gorgeous country cottage is a problem too: the plumbing is tricky and incomplete – the pipes form a piquant part of the sumptuously detailed and cleverly lit two-storey set (Anna Gardiner and Martelle Hunt with lighting by Hartley TA Kemp) – and the intermittent racket from them forms a witty counterpoint to Nate Edmondson’s equally sumptuous, tongue-in-cheek sound design. …this production is superb and together with the performances as detailed above, it’s lifted to a place of really recommended."

• Diana Simmonds (Stage Noise)

 

"This show was a knockout… A strong, sparring drama with good performances and  was well suited to the intimacy of the Old Fitz. … Nate Edmondson’s edgy soundscape and a sharp lighting design by Hartley T A Kemp enhance the action on stage. … Highly recommended."

• David Kary (Sydney Arts Guide)

 

"Anna Gardiner and Martelle Hunt’s set is a charming multi-layered home, giving refreshing height to the Old Fitz playing space; Hartley TA Kemp’s lighting gives it depth, and Nate Edmondson’s music suggests an English comedy of manners, from which form The Village Bike is at least partially drawn. It’s a pleasant and welcoming kind of atmosphere, which stops the play from ever being completely bleak."   ★ ★ ★ ☆

• Cassie Tongue (Time Out Sydney)

 

"The dark comedy starts off like a sitcom, with lots of laughs, but in the second act it veers into more provocative territory as it explores the Madonna/Whore complex, with Becky caught somewhere in the middle. ... Rachel Chant directs a well-honed production on an impressive two-storey set by Anna Gardiner and Martelle Hunt."   ★ ★ ★ ★

• The Daily Telegraph

"…the lighting by Hartley T A Kemp is focused on the illumination of the locations and is accompanied with a sound design and composition by Nate Edmondson - Mr Edmondson seems to be on a cresting wave of creativity, what with Jatinga and other work heard in our theatre's so far this year. The Village Bike introduces us to a writer, Penelope Skinner, worth knowing and brought to life by a company of tremendous artistry. Within the modesty of the Old Fitz possibilities, The Village Bike production is a very interesting (important) time in the theatre. … Should see."

Kevin Jackson (Kevin Jackson’s Theatre Diary)

The Village Bike

[Australia, 2017]

 

 

"Gaul’s production of this iconic play does not shy away from the script’s surreal elements and larger than life characters – the show is somewhat dream-like but also recognisably Australian through a humour and audacity that Patrick White so deeply revered and revealed with every stroke of his pen."

• Arts Review

 

"...Gaul and designer Jasmine Christie confine the action to one level, a shiny-floored abstract space whose only permanent feature is a steel bench, simultaneously suggesting commercial kitchen and autopsy table. The rest of the 'great, damp, crumbling house' is conjured in the mind by composer Nate Edmondson, whose surround sound underscore makes it seem like a malevolent living presence."   ★ ★ ★ ★

• Jason Blake (Sydney Morning Herald)

 

"The surreal world of White’s play is unlike any other in the Australian canon… Kate Gaul, one of Sydney’s most insightful, confident and versatile directors, is entirely up to the challenges presented by the play, and has created a production that sings with all the music and poeticism of White’s text. … Nate Edmondson’s sound design suggests the setting brilliantly, with all the subtle creaks and drip-drops of the old, ramshackle house, while his music creeps in at exactly the right moments. … This is an entertaining, imaginative, first-rate and crystal clear production of one of the most idiosyncratic plays ever written by an Australian playwright. It’s no fusty museum piece, but should be seen by everyone with an interest in the handful of plays that make up the Australian theatrical canon."   ★ ★ ★ ★

• Ben Neutze (Daily Review)

 

"The Ham Funeral is dense and wildly obtuse and director Kate Gaul has steered a lucid path through it and achieves a bright, light production of what is also a darkly humorous gothic drama. … That world is vividly portrayed in this production, not least through a remarkable soundscape by Nate Edmondson that is integral to the action. You could swear the smells of coal, rancid dripping and cheap perfume hang in the air of the Stables theatre along with the sweaty ghosts of characters past. It’s captivating and wonderfully weird… This is a glorious production – Recommended."

• Diana Simmonds (Stage Noise)

 

"Patrick White’s surrealist work is not one to rely on for narrative pleasure, but as a platform for theatrical delight, it swells with possibilities. Director Kate Gaul identifies the extremities in the play, whether they be comedic, dramatic, grotesque or celestial, and turns them into sequences of sheer and intense pleasure. ...our senses, beyond those that comprise the rational mind, are fired up and called upon to engage, in a visceral way that can only happen within a live setting. It is a waking dream in which we find ourselves immersed. Nothing looks real, but we know that everything points to something authentic. We are gripped by its mystery, and the hypnotic ambience so expertly manufactured by its team of daring creatives. Hartley T A Kemp lights the space so that everything seems to float in an abyss of subconsciousness, and Nate Edmondson’s sensational sounds of ringing and rumbling take over our nervous system, directly manipulating our moods and responses."

• Suzy Wrong (Suzy Goes See)

 

"This is a breathtaking production of a landmark play, riveting and humorous. … This is a fabulous production of this at times grotesque, mythological, symbolic, challenging and grippingly dynamic play."

• Lynne Lancaster (Arts Hub)

 

"It had been said that the play was ‘a triumph of the imagination over mediocrity’. This can certainly be said of director Kate Gaul’s latest production for Griffin Independent at The Stables Theatre presented by Gaul’s Siren Theatre Company. … Design by Jasmine Christie, Lighting by Hartley T A Kemp and Sound by Nate Edmondson all contribute to make this a memorable production. The Ham Funeral is thoughtful, funny and really enjoyable. It’s worth a trip to the Stables in Kings Cross to see it."

• Bronwyn Fullerton (Sydney Arts Guide)

 

"Designer Jasmine Christie has created a dank and bare space that stretches into an eternity of blackness; Nate Edmondson’s sound design imbues that minimalistic set with ominous, murky atmosphere (the drip of a tap, an indeterminate rumble, and, with Hartley T.A Kemp’s lighting design, a sense of foreboding)."   ★ ★ ★ ★

• Cassie Tongue (Time Out Sydney)

 

"Accompanying the visual promptings is a complex and haunting soundscape by Nate Edmondson that builds up an imaginative invention of a crumbling, damp, mysterious and 'creepy' living space. The visuals and sound are the triumph of this production."

• Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"Along with Hartley T A Kemp’s lighting and Nate Edmondson’s soundscape, the stage suggests both two-storied boarding house and the atmospheric landscape of The Young Man’s psyche. … I went in a bit dubious, wondering if Patrick White wasn’t a bit much on the Friday night of a long, arduous week at work, when I would rather have been sharing a round or two of drinks. But I came out tipsy on thoughts of the meaning of life and high on the energy of some great performances."

• Toni Carroll (Molong Online)

 

"Directed by Kate Gaul, The Ham Funeral is set in a dim and decaying house where Mr and Mrs Lusty bicker about the state of their existence. … The lighting and sound superbly captured its bleakness…"

• Penny Spirou (Australian Stage)

 

"Directed by Kate Gaul, this production is a brave choice for the intimate Stables Theatre. … Technically, this production is very schmick. Nate Edmondson’s underscoring soundscape is remarkable and truly transportive. It’s subtle and refined, but always lurking in the background. This, and Hartley T A Kemp’s ethereal, dreamlike lights, adds a wonderful level of depth to this production."

• Alana Kaye (Theatre Now)

 

"Absurdist, vaguely existential theatre like The Ham Funeral comes with a myriad of difficulties for both cast and creative teams. Luckily, the brilliant combination of director Kate Gaul, sound designer Nate Edmondson and lighting designer Hartley T A Kemp are more than up to the challenge. The compositions and background noise gives the dingy setting a character of its own, lending a malevolent, anxious atmosphere to the play."

• Matthew MacDonald (The Buzz From Sydney)

 

"This Siren Theatre Co production, directed by Kate Gaul for Griffin Independent, captures the play’s exuberant theatricality, with some wonderfully bizarre, darkly comic moments. Within the confines of the tiny space, the design team – Jasmine Christie (set and costumes), Hartley T.A. Kemp (lighting) and Nate Edmondson (sound) do an inspired job of evoking the fetid, crumbling house."   ★ ★ ★ ★ ★

• The Daily Telegraph

 

"Composer and sound designer Nate Edmondson brings the decaying, vermin infested house to life with a persistent 'breathing' and the distant sound of a busy city."

• Jade Kops (Broadway World)

 

"The Griffin Theatre doesn’t lend itself to this multi-leveled symbolism, but Kate Gaul uses breadth instead of depth to create the journey to realisation our poet makes within himself. Nate Edmondson infuses the room with the creaking and moaning sounds of the circumventuous rotting house, forcing the invisible story’s to the stage such that we never doubt they are there. In this way, under Kate Gaul’s direction, The Ham Funeral becomes not just a literary thought, but the form of that thought. … From the pure perspective of production, the play is an essential part of the theatre goers' 2017 calendar. True to White’s vaudevillian love, The Ham Funeral is entrenched in a crumbling carnival aesthetic, consistent to the Dobell art work that spawned the original spark of the play."

• Lisa Thatcher

 

"Composer & Sound Designer Nate Edmondson also throws everything into preparing a perfect canvas on which to paint numerous of the most colourful, esoteric characters e’er written for the stage… At times difficult to decipher (and frustratingly so), at others imbued with profoundly empathic, if incorrigibly (and ironically, if names are anything go by) black, insights into ‘the human condition’, Gaul, cast and creatives consistently ensure production values always meet the unapproachable genius that was and is White. The result is, at once, symphonically Stygian, luxuriantly lurid; a veritable circus of Shakespearean proportions, viewed through a prism that could only be Australian. ... As I publish, only a week to run. Don't waste a moment."

• Lloyd Bradford Syke (Syke On Stage)

 

"Nate Edmondson’s enveloping sound design conjures that creaking and grinding like a haunting, with distant melodies floating by and the sudden presence of a ticking clock. Alma, too, listens, hearing the damp and the furniture. … This modest, intensely intimate production is another that reveals the enduring power of The Ham Funeral."

• Keith Gallisch (Realtime)

The Ham Funeral

[Australia, 2017]

 

 

"The show looks great - the design is simple and effective, with a brilliant soundtrack by Nate Edmondson and beautiful costumes by Stephanie Howe."

• Peter Gotting (Stage Whispers)

 

"Rajiv Joseph's acclaimed play Bengal Tiger At The Baghdad Zoo is presented by Mad March Hare Theatre with compact creativity at the Old Fitz Theatre as part of Red Line Theatre's season of Unspoken stories. Under Claudia Barrie's direction, the spirit filled story of the questions which haunt those that have ever pondered their purpose plays out with recognisable elements from the truth that underpins Joseph's imaginative story. … Humorous and shocking in the exposure of human behaviour towards each other and the innocent, this is work worth seeing…"

• Jade Kops (Broadway World)

 

"Bengal Tiger At The Baghdad Zoo truly earns its stripes as one of the should see shows of the Old Fitz season."

• Richard Cotter (Australian Stage)

 

"Barrie’s production is finely emotionally wrought, and she makes plenty of confident and bold directorial choices… that never takes you out of the world of the play, which is conjured up in magical ways by Isabel Hudson’s simple cyclone wire set, Benjamin Brockman’s colourful, otherworldly lighting and Nate Edmondson’s atmospheric and surprisingly understated sound design."   ★ ★ ★ ★

• Ben Neutze (Daily Review)

 

"Bengal Tiger At The Baghdad Zoo, by Rajiv Joseph, presented by a young independent company, Mad March Hare Theatre, directed by Claudia Barrie, was an unexpected pleasure. One of the highest order. … I have not had a better time in the theatre since Angels In America... On top of that, Mad March Theatre has found a group of collaborators that confidently and without a single unsteady will, deliver clarity and vivacity to all that they do in service to the vision of Mr Joseph's play. … Nate Edmondson, Composer and Sound Designer, has contributed a rousing and propelling, authentic sounding soundscape to keep the play moving and focused - the best of his prolific contributions to the Sydney theatre world for some time. … Go. Do not miss this production if you cherish theatrical excellence."

• Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"This is an intelligently written, witty and well-performed play that will leave the audience with many unanswered questions. Sydney audiences are lucky to have a production of this caliber currently showing at the Old Fitz."

• Vanessa Powell (Alt Media)

 

"Director Claudia Barrie’s intimately scaled, emotionally gripping production draws its audience into it, slowly at first, but very completely. ... Creative sound and light (Nate Edmondson and Benjamin Brockman, respectively) help move the audience back and forth between life, afterlife and the spaces in between. … Don’t miss it."   ★ ★ ★ ★

• Jason Blake (Time Out Sydney)

 

"Bengal Tiger at the Baghdad Zoo is beautifully rich and multi-leveled. … Director Claudia Barrie’s production is powerful theatre, visually and linguistically exciting."

• Paul Gilchrist (Theatre Red)

 

"What must have been a very entertaining play in its original incarnation is absolutely spellbinding at The Old Fitz, due to the direction of Claudia Barrie. … This is the best of theatre and we are so lucky to have such talent and creativity in Sydney."

• Jenny Bromberger

 

"In Nate Edmondson’s glorious (de)composition, we have the clarion call for revolutionaries to measure up to the revolution to be made. Herein lies one of the great beauties of this production of Bengal Tiger at the Baghdad Zoo. … A sublime example of evocative collaboration, Bengal Tiger at the Baghdad Zoo finds its place among the provocative, transgressive and universal. Highly recommended."

• Lisa Thatcher

 

"A production that engages with the events of the Iraq War has got to be a heavy hitter. But this production manages to deal with even bigger questions, like, ‘what is the meaning of life?’ Claudia Barrie’s piece engages strikingly with these big picture questions and issues and doesn’t recoil away from a bit of grit. With great performances from the whole cast, this show is something fierce."

• Emily Richardson (Upstaged Reviews)

 

"The play, via a face smear of chalky white denoting each death, then becomes a ghost story as the Tiger prowls and watches amid the ruins (simple, persuasive setting by Isabel Hudson, effectively lit by Benjamin Brockman with a beautiful soundtrack for this unnerving place and time by Nate Edmondson). … Director Claudia Barrie keeps a tight rein and focus on what could be, in lesser hands, a slithery landscape of dreams and nightmares, fantasy and reality. … It’s not often that one leaves a theatre provoked by a tiger into deep thought about life and death and laughter and the whole damn thing, but this is one of those occasions. Recommended."

• Diana Simmonds (Stage Noise)

 

"Rajiv Joseph’s, Bengal Tiger At The Baghdad Zoo is a very tricky play. You can’t profile it, it does not allow itself to stay very long in any one genre. There is comedy, drama, horror, violence, realism, fantasy… It is a very complicated play and it requires a very bold directorial vision. I am thankful Claudia Barrie was courageous enough to take the challenge and delighted that she succeeded. The play moves from pin point comedy to chilling violence and back with the elegance of a ballerina. … Nate Edmondson‘s soundscape was spot on. It was understated but not unnoticed and built the tension into scenes as well as creating a vibrant middle eastern vibe. … The show closes this weekend and I have hear rumours of it being sold out. Deservedly so but keep checking for a chance to sneak in. It's worth it."

• Lynden Jones (Theatre Now)

 

"...the production’s extraordinary intensity is determined to have us embroiled. It is powerful work by director Claudia Barrie, who invests great detail and dynamism into all facets of her show. An unrelenting atmosphere of tension akin to horror movies and war zones, is marvellously established by a bevy of design talents. Nate Edmondson’s music in particular, impresses with its exceptional precision in calibrating tonal shifts, allowing us to flow with the play’s many surprising and contrasting moods, with no apparent effort at all."

• Suzy Wrong (Suzy Goes See)

Bengal Tiger At

The Baghdad Zoo

[Australia, 2017]

 

 

"Sound design by Nate Edmondson added a fine atmosphere to the show."

• Len Power (Canberra Critics Circle)

 

"The soundtrack that accompanied the play is also good, not just concentrating on Irish music, but across genres to create the atmosphere needed for the numerous scenes. Another scene worthy of mention is the celebration where Grant and Sean do a type of Irish dance, hilarious and clever at the same time. … This is a fast-paced play, bursting with hilarity, even though there is a sad underlying theme. Well worth a night out."

• Pauline Smith (Absolute Theatre)

 

"You’d be forgiven for approaching Marie Jones’ Stones in His Pockets with trepidation. There is the title itself, the likely Oirish lads — boots (and caps and vests) and all — and the lilting tunes playing as you enter the theatre. … Well that’s not Stones in His Pockets at’all, at’all. Instead (and let’s drop all the mock Irish stuff now) it’s a tight little drama with a couple of well- manufactured twists that gives its actors some impressive technical challenges and its audience some impressive rewards. … Cartwright and Hawkins’ whirlwind, muscular performances, and terrific direction by Chris Bendall, on a welcome return to Perth, made for a genuinely engaging entertainment that was warmly, and justly, applauded by a capacity audience."   ★ ★ ★ ★

• David Zampatti (The West Australian)

Stones In His

Pockets

[Australia, 2017]

 

 

"This production, directed by Kim Hardwick, has all of her usual hallmark visual details. Designed, by Isabel Hudson - a black rock resting on a floor of shifting sand - and lit by Martin Kinnane with sinister shifting effect, accompanied by a subtle soundscape, composed, by Nate Edmondson."

• Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"Nate Edmondson’s score/sound design does wonders to unify the world... It is a typically slick and atmospheric production by director Kim Hardwick."   ★ ★ ★ ☆

• Ann Foo (Arts Hub)

 

"The set (which is at first covered in a large autopsy-esque plastic sheet) is sensory and simplistic – a large rock face protrudes from a sand covered stage. Effectively evoking an ocean side atmosphere, together with a skirting of milk crates and plastic lawn chairs and a coastal soundscape. … Considered, weighty and wonderfully executed (especially considering the budget constraints), this production of Blackrock is important and telling theatre, and trigger warnings should be well regarded."

• Alannah Maher (Alt Media)

Blackrock

[Australia, 2017]

 

 

"…director David Berthold finds a variety of smart staging solutions to the challenges of telling a story that unfolded largely through social media platforms, emails, phone calls and text messages. His use of video projection and Nate Edmondson’s cinematic, tension-building score, keep the story moving at a decent pace."   ★ ★ ★ ☆

• Ben Neutze (Daily Review)

 

"...the telling of the tales is compelling and rewarding. The set design by Michael Hankin is a virtually empty stage with an occasional table, desk, hospital gear and ever-changing back projections and surtitles (by Vexran Productions); both enhanced by a tightly integrated lighting set-up (Damien Cooper) and punctuated by a gorgeous and almost filmic soundtrack by Nate Edmondson."

• Diana Simmonds (Stage Noise)

 

"This virtual documentary ... is rather like a two-hour version of ABC TV’s weekly Australian Story. That’s not a complaint. On stage, with projections that look as good as the best high definition TV, and full-on (far better than home) theatre sound, and where the participants live and breathe right before us, this is one of the best Australian stories around."

• Frank McKone (Canberra Critics Circle)

 

"Video projection upstage is a nice reminder of the truth of this story, and the damage that was caused when it all exploded. … Nate Edmondson’s compositions take the tension of the projections to another level…"

• Alana Kaye (Theatre Now)

 

"The play's production team use enthralling techniques in sound and lighting and the minimalist set of alluring grey walls covered with shining perspex unfold the text message relationship that develops between Colvin and Field. … Is it a play or an opera? ... The production creative team also embraced the text and the direction and delivered a 'perfectly formed' new Australian play."   ★ ★ ★ ★ ☆

• Margaret Helman (Sydney Scoop)

Mark Colvin's

Kidney

[Australia, 2017]

 

 

"Lights by Benjamin Brockman and music by Nate Edmondson are employed with a deft touch to guide us boldly through every unequivocal statement; technical design for the production is heavily relied upon not just to cue emotional responses, but also to help us with all the character and plot details we need to know."

• Suzy Wrong (Suzy Goes See)

Political Children

[Australia, 2016 & 2017]

 

 

"And Nate Edmondson’s subtle original music is equally hard to grasp hold of. The tinny echoes of a fairground organ or the reverberations of Harry’s tuneless whistle with instruments which escape easy classification. The low and lingering topped by crystal lightness for a tightrope walk which leads into a cello / string / electric under-wail for the ensuing monologue. It is a marvellously cohesive production."

• Judith Greenaway (Sydney Arts Guide)

 

"This Siren Theatre production directed by Kate Gaul is elegantly simple and exceptionally clear. …in what for me is the stand out show of the Mardi Gras festival so far."   ★ ★ ★ ★ ★

• Jason Blake (Sydney Morning Herald)

 

"The sophistication of the script is reflected in the production’s look and sound, with an exceedingly elegant team of designers bringing to the space, a serene beauty that evokes an appropriate grandness of emotion and meaning, so as to correspond to Harry’s extraordinary experiences. … There is a real beauty in Gaul’s theatricality…"

• Suzy Wrong (Suzy Goes See)

 

"The design (Alice Morgan) and lighting (Matt Cox) are simple, effective and variously atmospheric, as is Nate Edmondson's clever sound score – you can almost smell the bad drains, stale beer and sweat and visualise the lurking fears and questions of what was essentially a sepia-lit, fugitive existence. … Programmed by the Seymour Centre and Siren for this year’s Mardi Gras festival, The Trouble With Harry is a very fine production that deserves a wide audience. Recommended."

• Diana Simmonds (Stage Noise)

 

"Director, Kate Gaul has built with her designers, Alice Morgan (Set and Costume), Matt Cox (Lighting) and Nate Edmondson (Sound and Composition) a seductive environment to create a means of attention focusing for the telling of the story. ... Mr Edmondson's Sound Composition is particularly beautiful and is sparing in its use, supporting almost unconsciously, in the background, the emotions of the play, without spectacle."

• Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"The Trouble With Harry is an intriguing mystery that asks more questions than it answers, packaged in a beautifully simple staging that allows focus to remain on the characters, and the mental images and emotions that Philpott's text evokes."

• Jade Kops (Broadway World)

 

"…Nate Edmondson’s sound design, Matt Cox’s moody and sinister lighting, and Morgan’s costumes and set — which all feel like they’re part of the one artistic vision. And that’s Gaul’s strength as a director: she always seems to be able to wrangle every part of a production together and make it work as a cohesive whole, serving the text in the most vibrant and integral way possible. This is a great piece of Australian writing, new to Sydney stages, and served up in a wonderful production."   ★ ★ ★ ★

• Ben Neutze (Daily Review)

 

"This production has been keenly directed by Kate Gaul, and elegantly designed. Lighting by Matt Cox is emotive and evocative, and dances around Alice Morgan’s ethereal set beautifully. Sound and music by Nate Edmondson complements the piece nicely..."

• Alana Kaye (Theatre Now)

 

"On Alice Morgan’s pleasingly rustic set of sturdy, unsentimental decking and wooden boxes, Matt Cox’s lights and Nate Edmondson’s sound summon a sense of foreboding that grows – and occasionally ebbs away for moments of relief – throughout the taut 85-minute running time. … Gaul’s production and Philpott’s script offer an eloquent argument for examining our history and releasing genuine human struggle from the badge of scandal; it gives dignity back to those who had it ripped from them."   ★ ★ ★ ★

• Cassie Tongue (Time Out Sydney)

 

"To the sounds of an almost cinematic musical score, we see unfold at once the story of two lovers, their family and the people who watch them. The Trouble with Harry is a contemporary commentary on the vicious nature of rumor and the power of assumption, themes especially valid in today’s post-truth world."

• Revile The Review

 

"Director Kate Gaul and her design team – Alice Morgan (Set & Costume), Matt Cox (Lighting) and Nate Edmondson (Sound and Composition) have created an almost eerie setting to tell the story. The action tends to play out under the hazy glow of sepia on a raised rough-hewn platform (which reminded me of an execution scaffold) against a backdrop of two shabby see-through curtains. The score is spare and haunting, reflecting the changing moods in the play. … This is a notable production of an Australian play..."   ★ ★ ★ ★ ★

• Veronica Hannon (Gay News Network)

 

"Kate Gaul amassed a superb team of creatives to bring Lachlan Philpott’s words to life. The list of names reads like a whose who of great creative talent in Sydney 2017. Nate Edmondson composing and performing sound, Alice Morgan’s production design and Matt Cox giving us the exquisite lighting that becomes so important to Kate Gaul’s ability to whisk Harry back and forth through time. … Highly recommended."

• Lisa Thatcher

 

"Designers Alice Morgan, Matt Cox and Nate Edmondson effectively create a forlorn, sepia, early twentieth century Sydney. … With a fine cast, director Kate Gaul creates a captivating night of theatre."

• Paul Gilchrist (Theatre Red)

 

"The Trouble With Harry is emotional and powerful and the audience were mesmerised from the first words. … Evocative music playing in the background and clever lighting created the mood whilst some gentle humour stopped it from being too dark. … The intimate space of the Reginald Theatre was packed to capacity and provided the right atmosphere for such a confronting piece. The Trouble With Harry will stay with you long after it ends..."

• Janelle (Weekend Notes)

The Trouble

With Harry

[Australia, 2017]

 

 

"Direction by Erin Taylor brings a certain minimal elegance that keeps our minds attentive only to what is important at each moment. There is great sensitivity to her storytelling that protects us from ever feeling alienated, no matter how the phenomenon of pain is expressed. ... Atmosphere is calibrated gently, but brilliantly, by Christopher Page’s lights and Nate Edmondson’s sound and music. Both demonstrate acuity and artistic maturity with their respective disciplines, contributing significantly to a show that communicates with precision and confident ease."

• Suzy Wrong (Suzy Goes See)

 

"The creative team, led by director Erin Taylor, conjures a multitude of settings from a multipurpose utilitarian room with very minimal elements. … Nate Edmondson creates an impressively large soundscape in the intimate space... In fact there is stillness to the physicality of the work that lends itself to hearing rather than watching the play."

• Fiona Hallenan-Barker (Theatre Now)

 

"This is an excellent production at the 505 theatre, complete with complex characters and a beautifully executed choreographic relationship to the synchronicity of nationalism and the easy flow of taking refuge in the aggressive stance of the other. … This is enhanced by the evocative lighting of Christopher Page, Tom Bannerman’s set and Nate Edmondson’s exquisite sound that forces the audience to imagine it has experienced a terror attack at one point. BU21 as a whole is a beautifully nuanced experience that explores what is happening to us when we react to a terrorist attack, whether we were on site or not. … BU21 comes highly recommended. Don’t miss this."

• Lisa Thatcher

 

"The real power of sound design, here masterfully delivered by Sydney Theatre Company regular Nate Edmondson, is to the fore in this production. When we see playbacks on CCTV or handicam of terrorist attacks, the fidelity is never quite there for obvious reasons. But the 'true violence' of the surround sound depicting the plane crashing was so immersive, you could feel the chaos and evil taking over in such a moment. The feeling that this is it, nobody can save you. … Great performances, beautifully staged and directed."

• Mark O’Connor (Scenestr)

BU21

[Australia, 2017]

 

 

"Kim Hardwick moves the play with agility and Tyler Ray Hawkins’ chromatic dark set with Martin Kinnane vivid strip and detailed spot lighting delivers a high production value. So too does the rising tension of Nate Edmondson’s sound."

• Martin Portus (Stage Whispers)

 

"The interaction between the two (Cronin and newcomer Simen Glømmen Bostad) is charged with the humour of the audience’s automatic reaction to Patricia’s zealous niceness as well as a contrasting if ill-defined unease. The latter is generated by Nate Edmondson’s sound design with echoing whispers in the opening moments hinting at something lurking in the shadows – of the past or the imagination, who knows."

• Diana Simmonds (Stage Noise)

 

"The show captures you from the moment you sit down and takes you along a generational journey that resembles a 1000 piece puzzle than a linear sequence. … Immeasurable credit goes to Composer and Sound Designer Nate Edmondson who held the pace, emotions and excitement of the play at a sensory level the entire show. Every moment was filled with deliberate audio (or lack of) and it complimented all other show aspects without losing its own marvel. … Undoubtedly dark and mature, I Hate You My Mother is an incredible start to the Old Fitz’s 2017 season…"

• Sabrina Stubbs (Theatre Now)

 

"Martin Kinnane's (lighting design) starburst and line of fluorescent light tubes illuminates the walls and when paired with changes to the main stage lights and bursts of Nate Edmondson's (Sound Design) sound, serve to help change locations without any physical set changes. … Presented with passion and mystery, this is an interesting new play that will satisfy audiences that enjoy being challenged with thought provoking, intelligent works."

• Jade Kops (Broadway World)

 

"Elevated by beautiful work from its team of designers, the production is effortlessly elegant, with an atmosphere cleverly calculated to secure our attention. Director Kim Hardwick establishes an ethereal grace that underscores the entire show…"

• Suzy Wrong (Suzy Goes See)

 

"Director Kim Hardwick navigates the scene transitions with changes in lighting (by Martin Kinnane) and the score (2016 Sydney Theatre Award winner Nate Edmondson)…"

• Cassie Tongue (Time Out Sydney)

 

"There is Sound Design by Nate Edmondson, too. The design elements are the most interesting aspects of this experience and is obviously a strong aesthetic inclination in Ms Hardwick's Directorial quiver."

• Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"This play is quite adventurous, and moves backward and forward in time over four hundred years. … The design, costuming and sound is really wonderful. The play overall is so entertaining that I was sorry when it finished, hoping that the interwoven stories could just continue! I highly recommend this production."

• Jenny Bromberger

I Hate You

My Mother

[Australia, 2017]

 

 

"This delicately robust show ... is intelligent, lyrical and haunting. Director Kate Gaul’s solid choice to use a well operated face mic, grounds the production. Phelan can move any way without the audience losing content and Gaul’s direction resists the temptation to put the performer at the head of the traverse where she can always be fully seen. It also gives Phelan the freedom to use her vocal range to create emotional landscapes for the listener. Supported by the brilliant soundscape of audio designer and composer Nate Edmondson. I always seem to love Edmondson’s work but this is something special. With absolutely no sense of cultural appropriation, his themes are a counterpointed homage to South American rhythms and instruments. Flutes, woodblocks, shakers, claves all sneak in as the music heightens emotional moments yet allows for silences. The single instrument for the dragonfly which swells and rises evocatively to suddenly fall silent as the speaker’s father appears in the story gave me goosebumps. Very, very quick hits and punctuations sometimes. That few seconds of violin at the mention of the Belle Époque! Marvellous."

• Judith Greenaway (Sydney Arts Guide)

 

"Nate Edmondson’s sound design and compositions immerse you in the various worlds of the play, while Louise Mason’s lighting traces each dramatic turn perfectly. In fact, every element in this production is in step and working together to create this fascinating and ultimately heartbreaking piece of theatre."   ★ ★ ★ ☆

• Ben Neutze (Daily Review)

 

"The sound design is crafted well and offers her words a scaffold to linger on. Good With Maps is sad but by no means melancholic. It finds a symmetry that leaves you feeling balanced between worlds both real and imagined."

• Emily Shaddick (Australian Stage)

 

"Good With Maps is one of those rare and beautiful productions I dream about, where a fine writer has handed a text to a fine director who calls forth a great performance from a fine actor who inspires creatives around her to produce their best for the show. … Rounding out this great triumvirate are Alice Morgan’s beautiful designs including her murmuration of small tin foil boats, Louise Mason’s subtle lighting that seems to come up from beneath the narrative rather than impose god-like over it, and Nate Edmondson’s sound that springs into the production with alacrity and verve from a certain time and space. Good With Maps is an exquisite production, knotty, agrarian and ideologically blasphemous. It’s not easy – this is not a visit to the theatre to 'chillax' – but it is untamed and necessary, lyrical and intense. I found myself hanging off every word and surprised when it reached its end. Highly recommended."

• Lisa Thatcher

Good With Maps

[Australia, 2016-2018]

 

 

"Director Erin Taylor has created a production much, much better than you’d expect for a one-off performance. … It’s fascinating and heart-wrenching to watch as these young women struggle to come to terms with the contradictions and immense pressures of the world they live in. I hope this production returns to Sydney at some point, because it needs to be seen."   ★ ★ ★ ★

• Ben Neutze (Daily Review)

 

"This production was seen as a one performance highlight of the WITS’ Festival Fatale in October last year. ...it’s an astonishing and unmissable experience. … Directed with great verve and nuance by Erin Taylor, Slut is a production that delivers dynamic truth and theatre with every minute of its 35. … A must see."

• Diana Simmonds (Stage Noise)

 

"It is a cruel existence that Lolita has to endure, and director Erin Taylor’s portrayal of that brutality is certainly vivid. The production is rhythmically precise and in its half-hour duration, we are thoroughly captivated by all that it wishes to communicate."

• Suzy Wrong (Suzy Goes See)

 

"Erin Taylor helms a tight, incisive production. … In this tight drama which runs just a skimpy forty minutes, Cornelius has an overhanging plot which comes starkly into play at the close. Recommended…"

• David Kary (Sydney Arts Guide)

 

"The one-off staging of the piece was a sell-out success and garnered an excellent critical response. … Taylor’s staging of the production in the intimate venue makes good use of the entire space; the proximity of the actors to the 65-strong audience heightens the impact of Cornelius’ text. Additionally, Nate Edmondson has ensured the action that unfolds is always suitably and meaningfully underscored."   ★ ★ ★ ★ ☆

• Tim Garratt (Theatre People)

 

"According to the contestants on this year’s series of Masterchef, 30 minutes is not long enough to infuse a dish with the flavour punch the judges are looking for. But it’s more than enough time for the cast and crew of Slut... This whirlwind of a play is defiant, crude, charming and deeply engaging. … The musical score underpinning the show is well curated and interacts seamlessly with the dialogue, and the lighting design is subtle but hits all the right notes."

• Emily Saint-Smith (The AU Review)

 

"Sound by Nate Edmondson sets the pace, although the rapid fire movement of the cast and delivery of their lines is what keeps us hooked while making excellent use of the theatre space. All this, in just under 35 minutes."

• Joanna O’Hara (Theatre Now)

 

"Taylor has found the inner musicality present in each of Cornelius’ lines, and in Slut it’s the relentless rhythm that propels us forward, unable to stop for too long on any one moment: time must keep marching on in the play like it does in our own lives. Further shaped by Nate Edmondson’s sound, which is designed to engage our hearts, the production feels like an assault, a prayer, a wake-up call. … Send your teenage sons; they might learn something. But more importantly: send every teenage girl you know. They’ll feel seen."   ★ ★ ★ ★ ★

• Cassie Tongue (Time Out Sydney)

 

"When I reviewed that initial staging, I wrote: ‘I hope this production returns to Sydney at some point, because it needs to be seen.’ … The production has evolved, with an extended sound design by Nate Edmondson, which matches the poetry of Cornelius’s language bar-for-bar."   ★ ★ ★ 

• Ben Neutze (Daily Review)

Slut

[Australia, 2016-2017]

 

 

"There was something very peaceful and magical about this show. On face value the staging seems purposefully simple but it is clear that a lot of work has been put into producing this show with brilliant music, lighting and props. … This is a super show and is perfect if you want to introduce your younger children to the theatre…"

• Dartford Living Magazine

 

"Colour, movement, smiles, clear story telling, visual surprises and a narrative so iconically familiar that almost everyone in the audience can recite it from memory: it’s a promising mix for pre-schoolers’ show. …the result is a fine piece of theatre which uses the whole space and retains all the charm of the books in a fresh way."   ★ ★ ★ 

• Susan Elkin (The Stage)

 

"…bringing Eric Carle’s classic story to life requires some serious imagination. Luckily this production has it in spades. …the show tackles Carle's stories with ingenuity and wit and easily has something to offer for audiences of all ages. This innovative adaptation makes for an enchanting experience that won't leave you hungry for more."   ★ ★ ★ 

• Emily Cole (What’s On Stage)

 

"What do you do when you have a series of children’s books, that have sold 43 million copies, and you wish to bring them to life in a theatrical play? You get the very best ‘creatives’ to adapt it for you! The producers ... have done just that. Everything about this production says authenticity, creativity, learning and love. … The sound design and music composition by Nate Edmondson is simply beautiful. It effortlessly dances around the action without you even noticing it is there. … The Very Hungry Caterpillar Show is children’s entertainment at it’s very best!"   ★ ★ ★ ★ ★

• John Bowles (Live Theatre UK)

 

"This is probably the best children's show we have seen - and I don't say that lightly. Simple but effective. With a fairly relaxed atmosphere, the audience are drawn in from the start, interacting enthusiastically, which continues throughout ending with everyone's favourite caterpillar. … On tour for the first half of 2017, this show has become our go-to recommendation. With a musical accompaniment beautifully composed by Nate Edmondson, it is a real treat for all the senses and is definitely one not to be missed. … Congratulations to director and creator Jonathan Rockefeller and his whole team. I just hope the show gets translated into some of the 62 languages which the book has, it's a theatrical treat every child deserves to experience."

• Sardines Magazine

 

"I mentioned how captivated my three and five year old were, but my eight month old thoroughly enjoyed it too – the large pops of colours from the puppets and accompanying lighting kept her mesmerized, particularly during the layout of Mister Seahorse as the music, colour, bubbles and glitter provided some fantastic stimulation."   ★ ★ ★ ★ 

• Laura Mason (Essex Baby)

 

"All the elements are there: brightly coloured cloths dancing across the stage, bubbles blown over the audience, beautifully crafted animal puppets and familiar rhythmic words. … At just under an hour, it’s an enchanting experience for your little ones."   ★ ★ ★ ★ 

• The Pigeon Pair & Me

 

"This is undeniably children’s theatre of the highest standard… The Very Hungry Caterpillar Show certainly delights on all levels, particularly the reveal of the beautiful butterfly at the climax of the show, but the hidden gem of this production is the first of the series of four pieces; The Artist Who Painted a Blue Horse. The combination of vibrant physical theatre, the arresting images of the numerous animals ranging from a polka-dotted donkey to a pink horse, and an uplifting musical score really drives home the message of the power of the imagination. … With wonderfully crafted storytelling and stagecraft, this is a truly spectacular theatrical offering and one which both children and adults alike cannot resist being swept away by."   ★ ★ 

• Clare Howdon (The Reviews Hub)

 

"When a five year old rates something as 99 out of 10, you know it's probably gone down well. ... There was a big thumbs up from the five year old with me, and both babies in my group also enjoyed the experience, transfixed by the music and colours."

• Emily Roberts (Basingstoke Gazette)

 

"Each of the tales is told through a mixture of music, dance, puppetry and reciting Eric Carle’s words just as they were written. ... Although the audience is of course very young, it was clear that they were all really enjoying the show as everyone was sat beautifully watching and listening, there was a lovely hum of chatter as children excitedly talked about the things they saw on stage..."

• Colette (Going On An Adventure)

 

"The show actually covers four of Carle’s stories, each engagingly told through the use of some amazing puppets, very vivid lighting and lots and lots of movement. My granddaughter, who only recently turned one, sat riveted for most of the show, loving the non-stop action."

• Andrew Bramfitt (What’s On North East)

 

"Each story ran seamlessly into the next, keeping the little ones mesmerised from beginning to end. … You know when a show is a success when your 2-year-old daughter is asking ‘again mummy?’ So if you’re looking for a fun treat for the little one’s this half term, book yourself seats for 50 minutes of pure magic and amazement."   ★ ★ ★ ★

• Sharon Wallace (Essential Surrey & SW London)

"The theatre show is like watching a pop-out of the book! I think this production is equally as magical and memorable; the colour and vibrancy just pops off the stage! This 60 minute production kept my little mister engaged from start to finish."

Mummy Shire

 

"This colourful, charming and gentle 60-minute show is perfect for children under five. The show features a gentle musical accompaniment composed by Nate Edmondson. And there’s even a cascade of bubbles onto the audience – what more could an under-five seek from a theatrical experience?"   ★ ★ ★ ★

Laura-Jane Foley (London Theatre 1)

 

"There was an element of movement too, both in terms of dance… This is a fantastic production for youngsters who are fans of the book and even those that have never read it. It’s an ideal introduction to live theatre for children and I could not recommend it more highly."   ★ ★ ★ ★

Jody Tranter (West End Wilma)

"Experience the well-known story in this energetic re-enactment, complete with delightful music and colourful set designs. Your little ones will certainly enjoy themselves at this festive treat."

Culture Whisper

 

"The Very Hungry Caterpillar Show gave life to my son’s all time favourite children’s story and was an excellently performed and staged piece of work. … Leaving the auditorium and looking at many happy faces, I feel that I could have not wished for a better show to start the weekend with my nearly two year old son. It was upbeat, educational, imaginative and full of marvellous creatures who I hope to meet again in my dreams."

Julia Harris (Fringe Review)

 

"Now in its second festive run, this kaleidoscopic hour-long adaption of four of Eric Carle’s classic children’s stories is a pure, kid-quelling joy. The titular chow-lusting larva doesn’t appear until the final quarter – the big diva – but there’s plenty of colourful puppets, dancing and music to entrance youngsters until then."   ★ ★ ★ ★

Phil De Semlyen (Time Out London)

"The cast … let their puppeteering skills do the talking but also demonstrate skills in dance. I quite enjoyed the synchronised puppet movements – you couldn’t take your eyes off the stage. … I feel as though this show represents children’s theatre at its best…"   ★ ★ ★

Stephanie Legg (The Spy In The Stalls)

 

"Eric Carle’s beautifully illustrated books have enchanted children for years, but a stage show of his work? How could that work? Well, put your worries to one side. This one, adapted by director Jonathan Rockefeller and aimed at children between two and six, works very nicely indeed. … The Mister Seahorse story is beautifully told and also has something to teach the little ‘uns about the intricacies of fish spawning. … The journey from egg to caterpillar munching through cake and watermelon doesn’t need to be repeated here, but it’s re-told with charm before his riotous explosion into the butterfly. It’s worth the wait and a truly magical culmination to a winning hour of theatre."   ★ ★ ★

Ben Dowell (Radio Times)

"The production, created by Jonathan Rockefeller, is a wonderful show for the very youngest theatre-goers. The large and colourful puppets will delight toddlers and preschoolers, and the fact that the show covers four stories in one hour makes it varied and entertaining. The Very Hungry Caterpillar Show brings classic picture books to life with first-class puppets in a production that offers little ones a fun introduction to West End."   ★ ★ ★ ★

Mummy In The City

"Families escaping the blistering heatwave outside for the air conditioned comfort of the Forum Theatre found themselves mesmerised by the world of colour that is The Very Hungry Caterpillar Show… The excitement was tangible as the magical 50-minute show managed to cram in four of Eric Carle’s best loved books with the help of 75 enchanting puppets. … As the moon crept along the stage everybody was jumping up and down for the final story and the one everyone was waiting for. We all joined in with ‘But he was still hungry…’ and I heard the word ‘wonderful’ escape from my daughter’s mouth when the butterfly was revealed."   ★ ★ ★

Emma Trimble (A View From Behind The Arras)

 

"There is no doubting that the show, which has already been a hit in London’s West End, New York and Australia, has perfectly captured the collage-like aesthetic of Carle’s charming books. … The whole show, in fact, felt a little bit like a pre-school version of a stadium gig. … With the caterpillar’s arrival, toddlers were truly captivated, grown-ups could cease their whispered explanations of the plots of lesser known books, and everyone could get on with chanting ‘But he was still hungry!’ in the manner of a Robbie Williams crowd during a rendition of Angels."   ★ ★ ★ ★ ☆

Fran Yeoman (Northern Soul)

 

"The idea of director Jonathan Rockefeller, with puppetry direction from Eric Wright and music and sound by Nate Edmondson, it has a deceptively simple staging. … Each one displays more activity than the one before it and more involvement with its creator: the pink rabbit leaping, the donkey performing a whole dance routine with him. … You’ve probably noticed that there has been a repetitive element in each of these stories and that is something children love. …they are shouting the words out themselves in chorus. By the time we reach day 5 and 5 oranges, they are counting aloud as he devours them. No one has done anything to directly encourage them. This is a spontaneous reaction triggered by involvement. … The Very Hungry Caterpillar Show is as simple and direct as Eric Carle's books but brings them to life in three dimensions in a way that is very child-friendly."

Howard Loxton (British Theatre Guide)

"An uplifting and masterful Jonathan Rockefeller adaptation of four of the much-loved author, Eric Carle’s, classic children’s stories. … The first three stories stand alone as wonderful stage adaptations of Carle’s books, filling the stage with light, bubbles, uplifting music and hi-energy and as the lead in to the finale – the ‘43 million copies sold’ star of the show, there’s a sense of excitement even amongst the adults, as if a long-lost friend has just arrived to tea. People can’t help narrating along, holding back their applause after each bite. … Wriggly and very hungry indeed, the metamorphoses into a stunning butterfly is the icing on the cake of this truly fantastic show. The Very Hungry Caterpillar Show is must for young and older – my six-year-old fell in love with the huge, colourful, animated puppet characters and so will you."

Pregnant City Girl

"Bringing books to a completely new level and the concept was even more amazing when I found out not only was it The Very Hungry Caterpillar but three other stories Eric Carle wrote, made it even more spectacular. … The cast and production team put a lot of attention to detail in not just the one but all four books. So much careful detail was put into the puppets and the choreography of the play was played out smoothly."   ★ ★ ★ ★ ☆

Clarissa (KK, Moo, And Monkey Too)

"All the elements are there: brightly coloured cloths dancing across the stage, bubbles blown over the audience, beautifully crafted animal puppets and familiar rhythmic words. … From the familiar sun rise, the caterpillar wiggles his way through the story, dancing along his wooden perch and getting larger with each mouthful. The whole theatre joined in for the 'But he was still hungry' line, and the older ones enjoyed counting what he had eaten each day. … At just under an hour, it’s an enchanting experience for your little ones."

Rosalie Horrocks (Travel And Joyful)

"All of the performances were bright and colourful and clearly captured the children’s attention. … I think that the show is a perfect introduction to theatre for very little ones. It had a very fun feel to it, whilst also capturing the charm and magic of the well loved story. … Team Mack would definitely recommend a trip to see The Very Hungry Caterpillar Show as a fantastic family trip for all ages to enjoy."

Lucy Mack (Momma Mack)

 

"…a charming production…"   ★ ★ ★ ★ ★

Kathryn Harrison (What’s Good To Do)

 

"…the show was beautifully put together and these classic stories were magically retold."   ★ ★ ★ ★ 

Theatres Online

The Very Hungry

Caterpillar Show

[United Kingdom, United Arab Emirates &

Europe, 2016-2019]

 

 

"I left boiling over with excitement, enthusing about the quality and huge, but completely realised, ambition of what I had just seen, filled again with wonderment at the genius of Weiss’s writing and the imagination that had yielded this truly remarkable concept. Yes, this had been a performance for the ages. … It’s certainly not a musical, indeed far from it, but it must also be remembered that Marat/Sade is very much a play with music — and that there is considerable singing, led by the brilliant quartet of Cucurucu (Irene Sarrinikolaou), Polpoch (Patrick Howard), Rossignol (Debra Bryan) and Kokol (Tim de Sousa). Their animated performances are simply superb. … I’ll just urge you to go see it. It rates among the best theatre I’ve seen. Very much thumbs up."

• John Rozentals (Oz Baby Boomers)

 

"Also noteworthy is Nate Edmondson’s original music, thoroughly creative, with a welcome exuberance adding texture and depth to the staging. Performed to a backing track, we are struck by the beauty of the score’s arrangement, and are left hankering for an opportunity to hear the songs sung completely live in tandem with musicians."

• Suzy Wrong (Suzy Goes See)

 

"This production of Marat/Sade is well executed with fine performances, an eye-catching exciting set and complex detailed behind the scenes work. Of special note is Nate Edmondson’s sound and the truly brilliant score. The songs are thrilling, and immediately evoke a need for more. This production has enlisted a long detailed list of contributors and it shows from the broad multifaceted talents ... this is a well thought out, beautifully executed production that rewards the close listener with nuances far beyond the original playwright’s intention. It is a stand out in a stellar year. Highly recommended."

• Lisa Thatcher

 

"Production values are first rate, from Tom Bannerman’s excellent set, through Spiros Hristias’ lighting, composer Nate Edmondson’s score and sound design and costumes by Nicola Block. Chaotic, rambunctious, percussive and provocative, Marat/Sade is a theatrical bull untethered and let loose among political and economic sacred cows and a whole herd of social injustice."

• Richard Cotter (Australian Stage)

 

"Peter Weiss’ intricately written play about rebellion and counter rebellion, profiteering and war, and the cavernous gulf between the rich and poor and the ruled and the oppressed comes to disconcerting new life in this incredible production directed by Barry French. … Leading the ensemble in song to the stunning compositions by Nate Edmondson are Irene Sarrinikolaou, Tim De Sousa, Debra Bryan and Patrick Howard. Their strength and energy are a vital part of the performance. ... It is a vibrant, confronting piece of theatre that moves from song to sadness, anger to failure and despair with gripping passion. Barry French, his cast and crew and the New Theatre are to be congratulated on this bold, theatrical production."

• Carol Wimmer (Stage Whispers)

 

"In between monologues they effectively break away into songs which resonate the themes and timeless lessons of the play. This is a dramatic theatrical production which will evoke laughter as the comedic elements of the play transpire, leading to an eruption of emotions as the main themes are revealed in the explosive finale."

• Mark Morellini (Alt Media)

 

"A madcap meta-musical repurposing historic cruelty for the new age, Marat/Sade is a fantastic experience for audiences to get up close and personal with. … Marat/Sade drips with ambition, which each element truly reached. …Nate Edmondson's composition is still in my head a solid week post attendance. A thoroughly strong spectacle with a message that might be uncomfortable, but remains important for audiences to be engaged with, galvanised by and spurred to action of any kind."

• Brodie Paparella (Broadway World)

 

"The anti-realism of the rousing musical intervals further Brechtian influence, almost like a distorted version of Les Miserables. … The compelling and engrossing narrative transports you to a world both familiar and surreal. This city could do with seeing more works like it."

• Jo Bradley (Aussie Theatre)

Marat/Sade

[Australia, 2016]

 

 

"Super fans of the show will definitely enjoy spending time with these characters. If the chorus of folks singing along to the opening theme at the top of the show is any indication, their ranks are sizeable."

• Zachary Stewart (Theatre Mania)

 

"Nate Edmondson’s (Composition and Sound Design) pre-show soundtrack includes some old favorites... As the lights dimmed, the familiar tones of Andrew Gold’s Thank You for Being a Friend blasted out of the speakers, prompting some audience members to sing along, doing their best Cynthia Fee. Make no mistake: this show is all shoulder pads and bright colors, glamour and sass, puppets and meta humor (jokes about puppets and the episodic nature of sitcoms abound) – and yet, it feels just as fresh, modern, and daring as it does familiar. And by the end of this theme song instrumental, you could practically feel it in the air that we were already hooked."   ★ ★ ★

• Dianne Gebauer (NY Theatre Guide)

 

"Picture it. A theater in Union Square. A packed audience immediately sings along to the iconic theme song of The Golden Girls. ... That Golden Girls Show! is the puppet parody you never knew you desperately needed."   ★ ★ ★ ★

• Michael Block (Theatre In The Now)

 

"When the lights dim and that theme song plays, sans lyrics, the audience can't help singing along. A couple of nervous voices, at first tentative, are joined by more and more until the entire audience seems to vocalize as one, 'Thank you for being a fri-e-e-end.' On one hand, it's remarkable to witness, as a sense of communion that total is rare at any show these days. On the other, though, it's no surprise at all, as that was indeed the mission statement of The Golden Girls (NBC, 1985 to 1992), and certainly is of this fuzzy valentine... Beyond the tunes, the scene transition and even end credits music sound as though they could have been lifted wholesale (Nate Edmondson is credited with composition and sound design)... Had Rockefeller wanted this to look and feel more like the real thing, I don't know that he could have swung it."

• Matthew Murray (Talkin’ Broadway)

 

"You know you have a welcoming crowd when the audience begins singing your theme song before the lights have even come up. Such was the case the night I saw That Golden Girls Show!, Jonathan Rockefeller’s puppet-filled tribute to the beloved 80s sitcom. No sooner had the familiar chords of the show’s opening tune began to play, than the entire audience joined in to sing, Thank you for being a friend.'"

• Lisa Huberman (New York Theatre Review)

"The vibe is electric. If the set, a near replica to that of The Golden Girls, isn’t enough to get you in the mood, the audience singing along to the opening theme song will. … If the original Golden Girls knew you were attending this puppet parody production, they would surely 'thank you for being a friend.'"   ★ ★ ★

• Tania Fisher (Stage Buddy)

 

"Picture it…wicker furniture with floral cushions in soft, pastel hues, the sound of canned violins, and the shenanigans of four women you’d swear were your best friends despite whatever age difference may exist between you."

• Naveen Kumar (Towelroad)

 

"Nate Edmondson's compositions sound exactly like the sitcom's incidental music, and his sound design is totally solid."

• David Barbour (Lighting & Sound America)

 

"That Golden Girls Show! may be the only show running right now that begins with an audience sing-along; as the lights go down and a karaoke version of Thank You For Being A Friend starts to play, the audience tentatively, then eagerly, joins in. It’s clear what we’re all here for—the joy of revisiting a favorite sitcom, with four characters who never fail to make us laugh."

• Dan Dinero (Theatre Is Easy)

 

"That Golden Girls Show! is pretty silly and we had a great time experiencing it together. … We giggled at the theme show music at the top of the show and the interstitial music as well."

• Tari Stratton (Magical MissTari Tour)

"Nostalgia quickly sets in upon entering the theater. … When the opening theme song, Thank You for Being a Friend, started playing, the audience could not help but sing along."

• Nathan Harding (Off Off Online)

 

"For devotees of The Golden Girls, there were numerous laugh out loud sequences and big guffaws and recollections of those days of yesteryear that brought great pleasure to so many and still does via the on-going repeats on television. In fact, the audience gleefully sang the theme song before the show even began!"   ★ ★ ★ ★

• Sandi Durrell (Theater Pizzazz)

 

"When I got to the theater ... what I saw was the most age-diverse crowd filling this beautiful intimate theater. Not only were many of them younger than my kids, as soon as the music played, everyone chimed in with the words, with enthusiasm I've rarely seen. What a hoot!"

• Ellen Eichelbaum (Splash Magazine)

That Golden

Girls Show!

[United States, 2016-2017]

 

 

"The design by Alicia Clements features a back wall with two doors at either end of a long oblong curtained window that rustles and flutters with a 'wind' ... with a Sound Composition and vocal Design atmospherically creating a 'real' past world of news bulletins concerning a lost child, with the magic music of the eerie otherworld of imagination, by Nate Edmondson."

• Kevin Jackson (Kevin Jackson’s Theatre Diary)

 

"Poignant, thrilling, terrifying and thought provoking, the latest offering from Darlinghurst Theatre Company will have your pulse racing and heart breaking as the Darling house is revisited decades after where Barrie left off. … Along with building the suspense, the sound design incorporates the television and radio announcements that gradually reveal the event that has haunted the family for years and the pieces slowly start to fit. … Remembering Pirates is an engaging and heartbreaking thriller that puts a different twist on the classic children's story."

• Jade Kops (Broadway World)

 

"Harley’s play is a dark retelling of Barrie’s original story of the boy who never grew up. A far cry from the lighthearted, sanitised Disney version we’ve come to know. This understated production is rife with tension from beginning to end, and offers some beautiful performances."

• Alana Kaye (Theatre Now)

 

"There is much to admire in how the production works with both surreal and naturalistic elements, blurring the boundaries between the two, to formulate a world that keeps us guessing. Its dreamlike atmosphere is created well…"

• Suzy Wrong (Suzy Goes See)

 

"The great strength of the show was in the directing, the designing and the acting. … With eerie lighting, sound effects, and thunder and lightning, dramatic tension built – until the whole wall and window finally came crashing down in a symbolic collapse of childhood memory into harsh adult reality."

• Frank McKone (Canberra Critics Circle)

 

"The sense of disquiet is raised at the outset with a jumble of ill-defined yet ominous street sounds, radio announcements, news items, snatches of music and other aural detritus (Nate Edmondson – score, Katelyn Shaw – sound). …Remembering Pirates is a play and production that intrigues and raises glitters of tempting questions in the imagination – just like Tinkerbelle’s fairy dust!"

• Diana Simmonds (Stage Noise)

 

"It's this building tension that drives the play, directed by Iain Sinclair as something between a thriller and elegiac portrait of family trauma. Alicia Clements’ production design, in tandem with sound and lighting, conjure a dreamlike, seemingly perpetual twilight, with breezes causing the curtains to flutter and part as though in anticipation of an otherworldly arrival."   ★ ★ ★ ☆

• Cassie Tongue (Time Out Sydney)

Remembering

Pirates

[Australia, 2016]

 

 

"Brutal flashes of light and sound open this stark vision of Shakespeare’s comedy, retina-searing blasts illuminating a male dancer in black sequinned underwear (who later turns out to be Matthew Backer as Puck) writhing to a sad rendition of Gershwin’s Summertime – a musical motif that returns throughout the play. … The frightening dystopia of the early scenes, saturated in overwrought sound…disintegrates into dream-like absurdity…"   ★ ★ ★ ☆

• Angus McPherson (Limelight Magazine)

 

"Also deadly serious are all the production’s design aspects. Chris Williams’ music and Nate Edmondson’s sound design hold us firmly in their dictatorial insistence for dramatic tension… On stage is a morbid world, resplendently manufactured to satisfy our need for an art that is carnal, wild and audacious. …what is achieved here is an instance of magic rarely witnessed, and unlikely to be seen very soon again. Wonderful for its uniqueness, and its gutsy approach to the most time-honoured of classics, this is excellent theatre that reminds us how good it is to be alive, at a time when the ephemeral art form can thrive so brilliantly, and we are here to catch it."

• Suzy Wrong (Suzy Goes See)

 

"A stirring soundscape (Nate Edmondson, with composer Chris Williams) rumbles throughout and Damien Cooper’s lighting, initially at least, adds powerfully to the threat."

• Martin Portus (Stage Whispers)

 

"Chris Williams has composed some brilliantly unsettling music, and Nate Edmondson’s sound design amplifies the dialogue smartly, melding the words into a pulsing soundscape. … This is a production which is constantly engaging and intriguing, inviting you to lean forward and wonder what the company might pull out next. … There are enough moments of absolute magic, both from the performances and Williams’ sense of showmanship, to keep the audience entertained, and force them to reconsider this very familiar work."   ★ ★ ★ ★

• Ben Neutze (Daily Review)

 

"In cahoots with his design team, Williams has certainly succeeded in making this regularly performed play ... strange and unpredictable again. Composer Chris Williams' and sound designer Nate Edmondson's wall-to-wall underscore contributes strongly to the densely spooky mood. Woozy passages of Gershwin's Summertime, crooned by Matthew Backer's emcee-like Puck, serve as a Lynchian leitmotif. Dark club beats lend the production a pulse. When Bottom is transformed into an ass, Ligeti's Lux Aeterna ... creeps into the mix."   ★ ★ ★ 

• Jason Blake (Sydney Morning Herald)

 

"Shakespeare's silly ass comedy gets a dash of Gershwin in the Kip Williams' STC production of A Midsummer Night's Dream. The use of the song Summertime ... could be considered a cheesy choice, a gimmick, but it works here as a musical leitmotif, summoning both the summer of the time of the action, and, through several orchestrations and refrains, a sense of simmering sensuality. ... Kip uses another popular song to fun effect, Buck Ram's Only You, sung by Titania in Eartha Kittish tone to serenade and seduce Bottom in her spellbound state of wanting to mate with a mule. That bestiality underscores the nightmare quality of this