Festen brought some of the most challenging subject matter I've worked with to the stage. Exploring a family's complex history called for sharp contrasts between states, moving from dinner parties and confrontations to surreal and comic moments and memories of the past.

Wendy Smith's ambitious vision was first developed by George Emberson, who carried out the early sound programming and pre-visualisation. I was responsible for bringing this into the theatre: managing the rigging and focusing, adapting the design as needed, and rigging the practical hanging lightbulbs.

The play's Danish roots were central, and the sound design reflected them, from haunting melodies to piercing cries. I added effects to shift the direction of sound around the space and balanced it for the venue.