Carolyn Downing

Sound Design­er

Car­olyn is a free­lance sound design­er, work­ing both nation­al­ly and inter­na­tion­al­ly. She enjoys work­ing close­ly with direc­tors, per­form­ers and oth­er cre­ative col­lab­o­ra­tors, from rehearsal room to per­for­mance space, to cre­ate cohe­sive and ful­ly inte­grat­ed designs with the desire to push the bound­aries of sound as an artis­tic medi­um with­in the­atre. Over the years, Car­olyn has built strong and suc­cess­ful rela­tion­ships with free­lance direc­tors and the­atre com­pa­nies alike, includ­ing Roy­al Shake­speare Com­pa­ny, Roy­al Court and Fran­tic Assem­bly. Car­olyn also has a wealth of expe­ri­ence in the cre­ation and lead­er­ship of sound design work­shops and has worked with estab­lish­ments such as Cen­tral School of Speech and Dra­ma, Cen­tral St. Mar­tins Col­lege of Art and Design, Wim­ble­don Col­lege of Art and Mouse­trap The­atre Projects. She also has expe­ri­ence work­ing in oth­er media gen­res, includ­ing film, ani­ma­tion and exhi­bi­tions and wish­es to con­tin­ue to flour­ish in

Recent Work

Car­olyn was recent­ly award­ed the Olivi­er for Best Sound Design 2014 for her work on Chimeri­ca at The Almei­da The­atre and Harold Pin­ter The­atre, West End.

Future Work

Car­olyn is look­ing for­ward to con­tin­u­ing her col­lab­o­ra­tion with Lyn­d­sey Turn­er on an upcom­ing pro­duc­tion of Bri­an Friel’s Fathers And Sons to be per­formed at Don­mar Ware­house, June 2014.

Fran­tic Assembly’s new pro­duc­tion The Believ­ers by Bry­ony Lav­ery is due tour into Lon­don, show­ing at The Tri­cy­cle The­atre from 22nd April, 2014

Car­olyn is cur­rent­ly work­ing on The Con­stel­la­tion Sto­ry Box exhib­it open­ing at The Sci­ence Muse­um late 2014.

 

Most Recent Sound Design Work

The­atre (Nation­al): The Pass, Cir­cle Mir­ror Trans­for­ma­tion, The Low Road, Choir Boy, The Wit­ness, Our Pri­vate Life, Oxford Street and Alas­ka (Roy­al Court); Protest Song, Dou­ble Fea­ture (NT); Chimeri­ca (Almei­da & Harold Pin­ter West End); Hand­bagged (Tri­cy­cle & Vaude­ville West End); The Believ­ers, Beau­ti­ful Burnout, Love Song and Lit­tle Dogs (Fran­tic Assem­bly); King John, The Gods Weep, The Winter’s Tale, Per­i­cles and Days of Sig­nif­i­cance (RSC); Low­er Ninth, Dime­tos, Absur­dia (Don­mar Ware­house); Angels in Amer­i­ca (Head­long); Black­ta, After Miss Julie (Young Vic); Much Ado About Noth­ing, To Kill a Mock­ing­bird, The Coun­try Wife, A Whis­tle in the Dark, Moon­shed (Roy­al Exchange); Blood Wed­ding (Almei­da); Lulu, The Kreutzer Sonata, Vanya, The Inter­na­tion­al­ist (Gate The­atre); Andersen’s Eng­lish, Flight Path (Out of Joint); The Water Engine (Theatre503); Staller­hof (South­wark Play­house)

The­atre: (Inter­na­tion­al): All My Sons (Broad­way); Fan­ny och Alexan­der (Malmö Stad­steater); Ameri­ka, Krieg der Bilder (Staat­sthe­ater, Mainz); Tre Kro­nor -Gus­tav III (Dra­mat­en, Stock­holm)

Opera: How The Whale Became (Roy­al Opera House); Amer­i­can Lulu (The Opera Group); After Dido (Eng­lish Nation­al Opera)

Exhi­bi­tions: Col­lid­er (Sci­ence Muse­um); From Street To Trench (Impe­r­i­al War Muse­um North)

www.carolyndowning.co.uk

Rep­re­sent­ed by Clare Fox & Asso­ciates — www.clarefox.co.uk / email; clareimfox@gmail.com

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