I share my time between design, installation and operation of shows.
Working Freelance In 2017 my major projects included Designing Sound for shows at The Almeida and Greenwich Theatres, London and Aarlborg Teater, Denmark; and installation of the house sound system at the newly built 900 seat 'Bridge Theatre' in London.
Some examples of my immersive sound design work is shown below. A Full list can be found on my Credits Page.
The Dark Tower - Immersive Musical theatre
Probably the biggest Musical Event of the year'. BritishTheatre.com ⭐️⭐️⭐️⭐️⭐️
'Full credit should be given to the technical teams who ably navigate the substantial challenge of the ambitious three-storey presentation.' MusicalTheatreReview ⭐️⭐️⭐️⭐️⭐️ review
I designed, installed and operated the Sound for the site-specific, immersive experience at the CLF Theatre, Art Cafe, Peckham. Technically demanding and set over 3 floors: the cast, band and audience moved up the stairs in the building to 3 performance spaces. Installed in a single day, this required one sound desk to control the sound reinforcement, with three sets of microphones, monitoring and front of house speakers; and required a wireless network to be installed to enable the sound operator to follow the action and control the sound desk from an iPad.
FABLES FOR A BOY - New MusicaL
"Excellent Sound Design." Musical Theatre Review
8 vocalists used body worn radio microphones and music was provided by a small band using personal monitoring, amplified from a backstage room. The score was for a much larger orchestra and I created instrumental click tracks to accompany the live musicians adding depth to the music. I also created an immersive eerie sound scape
HAMLET - Drama
Hiraeth Artistic Productions, took the classic play and radically re-imagined it, setting the play in modern times in a Liverpool Prison.
Views From The Gods Review "Light and Sound from Jack Weir and Mike Woods ...striking and moody .. balance spot on between visual and emotional impact."
A Younger Theatre Review "Walls of prison bars are moved in sync, between hands, partnered with music and lighting to create a brooding and dangerous atmosphere."
I worked closely with the lighting designer to create the required ambience to complement the actor's performance. With no live musicians in the show, I sourced or composed and recorded my own performance of music used in the production.
Rejsen - Promenade Theatre installation
Reliant on Sound, Lighting, Projection and Set to tell the tale.
Both sound, lighting and even the smell is absolutely top class. It is truly a sensory experience of high calibre.
It is sensory experience and one's own option for personal empathy in the piece that makes this show, I think, works much better than so many other "normal" theatre. It is hard to describe-it must be experienced. (Translated from Danish Review)
GLASWEGIAN BEAUTY - one 'woman' show
4 stars ★ ★ ★ ★ by Musical Theatre.com
"Mac delivers a deceptively powerful light tenor with a stupendous belt that suits the character perfectly, and thanks to some great sound balance from Mike Woods, reverberates around both floors of the well-appointed Milton Court."
A musical showcase with solo vocalist Mary Mac and supporting full orchestra, each instrument individually amplified.
HER NAKED SKIN - Drama
The brief; to draw the audience into the performance. I achieved this by providing all 20 actors with radio transmitters, the microphone heads hidden in their hairline. Dividing the stage into zones. Accurate programming of the sound system and 'calculated' speaker placement and 'delay' enabled the routing of each individual's amplified vocal to numerous speakers at differing volumes, dependent on the performers zone. This created the effect that the amplified sound of each actor appeared to come from their exact position on the stage whether stationary or moving and made the amplification imperceptible.
SOUTH DOWNS And THE BROWNING VERSION - linked dramas
The two plays, performed consecutively were set in public schools, some years apart. Before each commenced, I selected appropriate music to set the scene and era.
Recording quiet bird song and children in a school at work and play enabled the creation of a realistic sound scape. Sourcing an old school handbell, I recorded it to create an approaching sound effect followed by the bell being used live by an actor as he entered from behind the audience to great effect.
Choral singing was re-enforced imperceptibly by stage microphones, and a ticking clock was used in both plays to show the passing of time and as an audible link between the plays. Installing a wireless speaker into a phone on a desk, allowed the phone to be rung on queue and the sound to come from the phone.