Sound for Stage
GRIMMS' FAIRY TALES
Original music, sound design, musical direction and co-development of script for a short run at the White Bear theatre.
![]() Talk Radio PosterComposition and Sound Design August '17 | ![]() Andy Secombe by Cam Harle | ![]() Matthew Jure by Cam Harle |
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![]() by Cam Harle | ![]() Usher website picture.png |
Sound for Stage
TALK RADIO
A complex sound set-up, set in a 1987 talk radio studio, with all incoming calls pre-recorded with around 30 performers. Design required composition of theme tunes, radio jingles and advertisements while the stage set-up involved multiple microphones, an intercom system and on-stage speakers, along with integrating functioning 80's equipment.
'special mention should go to Sound Designer Dan Bottomley. There’s a lot going on sound-wise with broadcast mics, internal mics, telephones, people calling in, commercials being played in the background and Bottomley has got it all working to perfection. It’s incredibly complicated but this is one of the best examples of first-class sound design I’ve heard in a small theatre for a long, long time.'
LondonTheatre1
![]() Peter and the Wolf PosterCo-composer and Musical Direction July-Dec '17 | ![]() PW2.jpg | ![]() Peter-and-the-Wolf-330x220.jpg |
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Sound for Stage
GOBLIN'S PETER AND THE WOLF
A collaboration with musician Will Dollard involved workshopping and devising the script with the company through an R & D period and composing all original material with flavours of Prokovief's classic source. With a cast of only two actor/musician/puppeteers all music was channelled through a BOSS-RC300 loop pedal to fill out the soundscape of the play.
Touring until December
'musical theatre for children at its finest'
One4Review
'clever and intricately woven sound'
Families Online
![]() Frankenstein | ![]() | ![]() |
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Sound for Stage
FRANKENSTEIN
Composition of dark and atmospheric music for tour of northern theatre venues, including lengthy original numbers and evocative soundscapes. Orchestral and synth based.
Selections of material available to listen to on homepage.
Winner of Wakefield Drama Festivals 'Best Moment Award'
Composition for film
Frankenstein Prequel. An accompanying trailer for Foot of the Barrel and Bite My Tongue's 2017 co-production of Frankenstein. Visuals by Son Of Raw:
![]() Usher website picture.png | ![]() Richard Lounds and Eloise Kay in The House of Usher | ![]() Cam Harle in The House of Usher |
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![]() Harle, Lounds and Kay in The House of Usher |
Sound for Stage
THE HOUSE OF USHER
Full length musical put together for the Hope Theatre, Islington with Luke Adamson.
With all original music for ensemble of three actor musicians playing Cello, Clarinet and Guitar, with accompaniment from on-stage keys and, when required, full recorded backing tracks.
Matthew Williams (Wills) nominated for an OffWestEnd Award for best Sound Design.
'Bottomley's score is to be praised for variety and atmosphere.'
The Stage
![]() Screen Shot 2017-07-02 at 20.42.16.png | ![]() My face | ![]() Luke Adamson and my foot |
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![]() Luke Adamson | ![]() Usher website picture.png |
Sound for Stage
RICHARD PARKER
Realistic sound design for show set on a ferry and in a liferaft at sea.
'A brilliant, stripped back, sound design gave the visceral sensation of being at sea.'
London Pub Theatres
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Sound for Stage
THE SEAGULL
Original 1930's inspired jazz music and themes.
'Music was also used extremely effectively throughout... Dan Bottomley and Ben Bland's compositions were not only far more stylistically appropriate, but were integrated subtly into the action.'
Broadway World