2024
Death of England: The Plays - Michael, Delroy and Closing Time
Director: Clint Dyer
Venue: Soho Place, West End
Co-Sound Design
Robin/Red/Breast
Director: Sarah Frankcom
Venue: Aviva Studios, Manchester
Sound Design
The Ballad of Hattie and James
Director: Richard Twyman
Venue: Kiln Theatre
Sound Design
A Midsummer Night’s Dream
Director: Eleanor Rhode
Venue: Royal Shakespeare Theatre, RSC
Sound Design
2023
Death of England: Closing Time
Director: Clint Dyer
Venue: National Theatre, Dorfman Theatre
Co-Sound Design
Time Tavellers Wife
Director: Bill Buckhurst
Venue: Apollo Theatre West End
Sound FX Design
Harry Potter and the Cursed Child: Hamburg
Director: John Tiffany
Venue: MEHR! Theatre Grossmarkt Hamburg
International Associate Sound Designer
2022
The Chairs
Director: Omar Elerian
Venue: Almeida Theatre
Co-Sound Design
Harry Potter and the Cursed Child: Tokyo
Director: John Tiffany
Venue: TBS Akasaka Act Theatre
International Associate Sound Designer
Let the Right One In
Writer: Jack Thorne
Director: Bryony Shanahan
Venue: Manchester Royal Exchange Theatre
Composer and Sound Designer
Reviews:
The Stage (Holly Williams):
‘Joshua Pharo’s iced neon lighting and Pete Malkin’s perfect score – rippling retro synths, pulling off the same nostalgic trick as the music in Stranger Things – help thicken the atmosphere nicely.’
Theatre Reviews North (Peter Ruddick):
‘Like all the best scary movies, sound is key. Pete Malkin’s design and composition are not just horrifying though; Morse code taps and slaps combine with echoes and music to create something hauntingly beautiful.’
British Theatre Guide (David Chadderton):
‘Pete Malkin's sound design and music varies from sinister undertones to full musical scoring, but doesn't try to intrude on some of the more intimate scenes.’
Othello
Director: Clint Dyer
Venue: National Theatre, Lyttelton
Co-Sound Design
2021
Death of England: Delroy
Dir: Clint Dyer
Venue: Olivier Theatre (National)
Co-Sound Design
Reviews
iNews (Marianka Swain) (full review)
"Dyer’s production utilises an excellent soundscape from Pete Malkin and Benjamin Grant – including the thunderous banging of a judge’s gavel…"
The Arts Desk (Matt Wolf) (full review)
"That is just one of many terrific touches that lends a hurtling energy to proceedings whereby props (a football, a helium balloon, a suspended puppet) come suddenly into view, accompanied as often as not by a thumping, anxious sound design by Pete Malkin and Benjamin Grant that should translate particularly well as and when the play ends up onscreen"
Die Gelbe Tapate (The Yellow Wallpaper)
Dir: Lily McLeish
Author Charlotte Perkins Gilman
Venue: Galerie Seippel, 2021
Sound & Composition
Monuments (Walk This Play)
Writer/Director: Jonnie Roirdan
Location: Manchester City Centre
Composer and Sound Designer
SHADE
Choreographers – Neil Bettles and Jonnie Riordan
Oldham Pride Festival
Sound Design
Deciphering
Dir: Jack Lowe
Venue: New Diorama
Co-Sound Design
Harry Potter and the Cursed Child (re-imagined) Broadway
Sonia Friedman Productions
Dir: John Tiffany
Venue: Lyric Theatre Broadway
Associate Sound Design
Death of England: Face to Face
National Theatre
Writers: Clint Dyer & Roy Williams
Dir: Clint Dyer
Composer and Co-Sound Designer
2020
Death of England
Dir: Clint Dyer
Venue: Dorfman Theatre (National)
Co-Sound Design
Harry Potter and the Cursed Child - Germany, Hamburg
Mehr-BB Entertainment
Dir: John Tiffany
Venue: Mehr! Theatre Hamburg
Associate Sound Design
2019
There is a Light That Never Goes Out - Scenes from the Luddite Rebellion
Created By: James Yaetman and Lauren Mooney
Venue: Manchester Royal Exchange Theatre
Sound Design
Reviews
The Stage (Chris Bartlett) (full review)
"The multi-tasking cast in modern clothes uses little more than mic stands and Pete Malkin’s evocative sound effects to bring to life the story of how Luddite unrest spread to the north in 1812…."
The Observer (Clare Brennan) (full review)
"Moving on and about the raised scarlet platform that dominates the centre of the Royal Exchange’s theatre-in-the round, actors in modern dress deploy microphones like wizards’ wands, conjuring sounds to swirl around the stage (Pete Malkin’s sound design). Rhythmically percussive clangs and clatters shape relentless factory looms (“You may tire but they never do”); sliverings of tinkling glass “show” us shattering windows and chandeliers in the Royal Exchange’s dining rooms during a protest (a site-specific moment)."
The Guardian (Catherine Love) (full review)
“Manchester’s radical past is reanimated by the roar of disgruntled crowds in Pete Malkin’s complex and ever-shifting sound design"
Frankly My Dear (Lucy) (full review)
"…this show is extremely technically impressive. Its opening uses sound design and lighting to contrast the peace and quiet of agricultural life, as opposed to the terrifying noise of work in the factories. Pete Malkin and Dan Balfour use sound extremely effectively throughout the production."
De Kersentuin (Cherry Orchard)
Dir: Simon McBurney
Venue: Raazobal, International Theatre Amsterdam
Sound Design
Helt Privat (Privacy)
Dir: Audny Chris Holsen
Venue: Kilden Theatre, Norway
Sound Design
Harry Potter and the Cursed Child - Australia, Melbourne
Sonia Friedman Productions
Dir: John Tiffany
Venue: Princess Theatre
Associate Sound Design
2018
Death of a Salesman
Dir: Sarah Frankom
Venue: Manchester Royal Exchange Theatre
Sound Design
Reviews
British Theatre Guide - David Chadderton (Full review)
“This is helped by a disturbing sound design from Pete Malkin, that sometimes breaks out into atmospheric music but then sinks far into the background with a simple tone running under whole scenes, as well as some reverberation on the voices returning as echoes from the past to a man who is not in his perfect mind.”
The Unreturning
Dir: Neil Bettles
Frantic Assembly
Venue: Plymouth Theatre Royal / UK Tour / London Stratford East
Sound Design
Reviews Hub (Mark Fisher) (full review)
“With Pete Malkin’s forceful electro-orchestral score and Zoe Spurr’s high-precision lighting, it is fluid, brooding and intense.”
Reviews Hub (James Eves) (full review)
"The sound design by Pete Malkin and lighting design Zoe Spurr add the depth that a show of this calibre needs to put the metaphorical icing on the cake. With subtle orchestras in the background or blisteringly loud dance music accompanying a dim stage with a single, pinpoint spotlight or a completely blinding lighting flash to mask a transition, the lighting and sound not only work well together but with the rest of the production as a whole to create a sense of absolute synchronicity within this piece. In every sense of the word, The Unreturning is a visual and auditory feast. “
Pity
Dir: Sam Pritchard
Venue: Royal Court Jerwood downstairs
Sound Design
Queens of the coal age
Dir: Bryony Shanahan
Venue: Manchester Royal Exchange
Sound Design
Schism
Dir: Lily Mcleish
Venue: Park 90
Sound Design
Frogman
Curious Directive
Dir: Jack Lowe
Venue: Shoreditch Town Hall
Sound Design
The Encounter - Barbican and European Tour
Complicité
Dir: Simon McBurney
Touring: Barbican Theatre in London, Odeon Théâtre de l'Europe in Paris, DeSingel in Antwerp, Schaubühne in Berlin and Golden Mask Festival in Moscow
Sound Design with Gareth Fry
Reviews
New York Times (Ben Brantley) (full review)
"Mr. McBurney and his ace sound designers, Gareth Fry and Pete Malkin, have created an aural labyrinth of many layers. You’ll be watching Mr. McBurney’s lips moving in sync with what you’re hearing, only to discover that it’s just a recorded voice you’ve been listening to."
Hollywood Reporter (David Rooney) (full review)
"the production's most astonishing artistry is the infinitely layered enveloping world conjured by sound designers Gareth Fry and Pete Malkin. Close your eyes and you might find yourself reaching for bug spray."
Exuent (Nicole Serratore) (full review)
"the show is heavily reliant on binaural sound to create a sonically immersive environment (the incredibly complex sound design by Gareth Fry and Peter Malkin is a great reason to resuscitate the now-defunct Sound Design Tony award). With the headphones, we have no distance from the events because the show is happening inside our heads. With the intimate power of sound, we give over entirely to what we hear, even if we know it is not real. We’ve been told that’s not an actual recording of a buzzing mosquito and when we hear it later as part of the artificial cacophony of jungle sounds we do not stop and question it."
Talkin Broadway (Matthew Murray) (full review)
"the astonishing sound design by Gareth Fry and Pete Malkin, who use a trio of microphones (including a binaural head) to play games with time, space, and thought you probably never thought possible. Echoes repeat and sustain themselves into infinity. Seemingly random noises layer into gorgeous but chilling tapestries outlining entire ecosystems. The British McBurney, simply by angling his head, can conjure an electronic American voice that rings utterly natural. Words transform into memory, which in turn become a wholly different reality, which is itself then subject to McBurney's tiniest whims. And if he wants you to become hot, cold, or despairing, or to escort you to the brink of death, he'll stand in exactly the right place and unleash his utterance in just the right way to ensure you're helpless in his hands. It really is all this precise."
Harry Potter and the Cursed Child - Broadway
Sonia Friedman Productions
Dir: John Tiffany
Venue: Lyric Theatre Broadway
Associate Sound Design
2017
The Last Testament of Lillian Bilocca
Dir: Sarah Frankcom & Imogen Knight
Venue: The Guildhall, Hull
Sound Design
The Seagull
Dir: Sean Holmes
Venue: The Lyric Hammersmith
Sound Design
White Bike
Written by: Tamara Von Werthern
Dir: Lily Mcleish
Venue: The Space Theatre
Sound Design
Frogman
Curious Directive
Dir: Jack Lowe
Venue: Edinburgh Fringe Festival, UK Tour
Sound Design
The Kid Stays in the Picture
Complicité
Dir: Simon McBurney
Venue: Royal Court, Jerwood Theatre Downstairs
Sound Design
BritishTheatre.com (Mark Ludmon) (full review)
"The Kid Stays in the Picture dazzles with sound and vision thanks to video designer Simon Wainwright, lighting designer Paul Anderson and sound designer Pete Malkin."
Spiked-online (Patrick Marmion) (full review)
"Set to Pete Malkin’s hypnotic soundscape of phones, planes and highways, this is also a visual kaleidoscope with shifting perspectives using video cameras and projections. It could so easily become a muddle of hi-tech exhibitionism. But instead it sweeps you along on the tsunami of Evans’ life."
Evening Standard (Henry Hitchings) (full review)
"For a while at the outset we’re confronted with a row of actors speaking into microphones, and it seems as though we’re going to be stuck with something akin to a dry corporate presentation. But before long a swirling collage assembles — combining projections, news cuttings, deft impersonation and carefully curated sound effects to create an absorbing feast of reminiscence."
Plays to See (Luke Davies) (full review)
"the whole production seems to effortlessly glide across space and time, with a constant flow of arresting images and richly detailed sound and movement."
The Encounter - International tour
Complicité
Dir: Simon McBurney
Touring: Australia, New Zealand, USA
Sound Design with Gareth Fry
New York Times (Ben Brantley) (full review)
"Mr. McBurney and his ace sound designers, Gareth Fry and Pete Malkin, have created an aural labyrinth of many layers. You’ll be watching Mr. McBurney’s lips moving in sync with what you’re hearing, only to discover that it’s just a recorded voice you’ve been listening to."
Hollywood Reporter (David Rooney) (full review)
"the production's most astonishing artistry is the infinitely layered enveloping world conjured by sound designers Gareth Fry and Pete Malkin. Close your eyes and you might find yourself reaching for bug spray."
Exuent (Nicole Serratore) (full review)
"the show is heavily reliant on binaural sound to create a sonically immersive environment (the incredibly complex sound design by Gareth Fry and Peter Malkin is a great reason to resuscitate the now-defunct Sound Design Tony award). With the headphones, we have no distance from the events because the show is happening inside our heads. With the intimate power of sound, we give over entirely to what we hear, even if we know it is not real. We’ve been told that’s not an actual recording of a buzzing mosquito and when we hear it later as part of the artificial cacophony of jungle sounds we do not stop and question it."
Talkin Broadway (Matthew Murray) (full review)
"the astonishing sound design by Gareth Fry and Pete Malkin, who use a trio of microphones (including a binaural head) to play games with time, space, and thought you probably never thought possible. Echoes repeat and sustain themselves into infinity. Seemingly random noises layer into gorgeous but chilling tapestries outlining entire ecosystems. The British McBurney, simply by angling his head, can conjure an electronic American voice that rings utterly natural. Words transform into memory, which in turn become a wholly different reality, which is itself then subject to McBurney's tiniest whims. And if he wants you to become hot, cold, or despairing, or to escort you to the brink of death, he'll stand in exactly the right place and unleash his utterance in just the right way to ensure you're helpless in his hands. It really is all this precise."
The Tempest
Donmar Warehouse
Dir: Phyllida Lloyd
Venue: St Anns Warehouse, Brooklyn, New York
Sound Design
Light and Sound America (David Barbour) (full review)
"Pete Malkin is the sound designer this time, and, thanks to him, the isle is full of noises, including hip-hop, EDM, and new age music, in addition to strangely powerful effects -- for example, a slap that is magnified until it sounds like the most murderous of blows."
Zeal NYC (Jil Picariello) (full review)
The sound design by Pete Malkin delivers extra enchantment, particularly the ear-tickling bone-crunching riff of Ariel’s transformations—the first time I found myself waiting impatiently to hear a specific sound in a theater. (And what the talented Jane Anouka does with the sound is a pleasure to the eyes as well.)
Beware of Pity
Complicité
Dir: Simon McBurney
Venue: Barbican Theatre
Sound Design
Evening Standard (Henry Hitchings) (full review)
"While the production contains a few scenes that dazzle the eye, notably a montage of wartime atrocities, visually this isn’t as rich as much of Complicite’s previous work. Instead it’s Pete Malkin’s layered soundscape that does most to create the piece’s psychological and historical density."
The Independent (Paul Taylor) (full review)
"The production is a miracle of musicality as it coordinates live video projections, archive footage (of, say, the ballerinas masochistically fan-worshipped by Edith), a powerful soundscape (Mahlerian yearning, a thudding heart), and dazzling montages and gifs that rattle us towards our own time of European division and a refugee crisis."
The Guardian (Michael Billington) (full review)
"The earth-pounding bustle of a cavalry drill is suggested through stylised movement and Pete Malkin’s sound score."
2016
Harry Potter and the Cursed Child
Sonia Friedman Productions
Dir: John Tiffany
Venue: The Palace Theatre, West End London
Sound Design: Gareth Fry
Associate Sound Design: Pete Malkin
The Encounter
Complicité
Dir: Simon McBurney
Venue: Barbican Theatre, London
John Golden Theatre, New York, Broadway
Sound Design with Gareth Fry
Official London Theatre bit.ly/1Wvvycr
"With just his voice, a few props and Gareth Fry and Pete Malkin’s stunning sound design, he creates a myriad of characters that are so alive you feel you could stretch out your fingers to touch them."
Plays to see ★★★★★ http://bit.ly/1RbQWCb
"Shut your eyes and get the full treat of Gareth Fry’s and Pete Malkin’s ingenuity in sound design; get immersed in the cacophony of the rainforest, McIntyre’s inner thoughts or the innocent interruptions of McBurney’s six-year-old daughter to her dad’s creative process"
NYTimes nyti.ms/1QmhGB6
You simply sit down, don the headset that’s attached to your seat, and let Mr. McBurney and his extraordinary sound designers — Gareth Fry and Pete Malkin — play with your ears.
The Guardian ★★★★ http://bit.ly/1SxJKn9
"Shut your eyes at any point and you feel, thanks to McBurney’s expressive range and the ingenuity of the sound design by Gareth Fry and Pete Malkin, that you are in the Amazonian jungle."
The Tempest
Donmar Warehouse
Dir: Phyllida Lloyd
Venue: Kings Cross Theatre
Sound Design
Home Chat
Elmtree Productions
Dir: Martin Parr
Venue: Finborough Theatre
Sound Design: Pete Malkin
Beware of Pity
Complicité
Dir: Simon McBurney
Venue: Berlin, Schaubühne
Sound Design
Andrea Chenier
Opera North
Dir: Annabel Arden
Venue: Leeds Grand Theatre, Theatre Royal Newcastle, Theatre Royal Nottingham, The Lowry Salford Quays.
Sound Design
2015
Am I Dead Yet
Unlimited Theatre
Dir: Amy Hodge
Venue: The Bush Theatre, Traverse Edinburgh
Sound Design
UN Global Goals Launch: New York
59 Productions
Directors: Leo Warner and Mark Grimmer
UN Building: New York
Sound Design with Gareth Fry
Treasure
Ashleigh Wheeler
Dir: Alice Malin
Venue: Finborough Theatre
Sound Design
Unearthed
Folio Theatre
Dir: Kim Pearce
Venue: New Wimbolden Studio and UK Tour
Sound Design and Composition
Oresteia
ATG
Dir: Robert Icke
Venue: Trafalgar Studios
Associate Sound Design
1984
Sonia Freidman Productions
Dir: Robert Icke
Venue: Playhouse Theatre and International Tour
Associate Sound Design
Delloitte Ignite 15
59 productions
Venue: Royal Opera House
Sound Editor
7-75
Dir: Amy Hodge
Venue: The Place Theatre
Sound Design
Hampton Court Palace 500th year anniversary
59 Productions
Venue: Hampton Court Palance
Sound Design by Gareth Fry
Sound Editor