…it’s the sounds one remembers most... (Guardian)

...Paul Arditti’s sound, consummate as ever... (The Arts Desk 2016)

...I find Paul Arditti’s remarkable soundscape still echoes in my brain and unlocks memories of an event that signifies a major shift in the development of modern theatre (Guardian)

…but the truly startling ingredient was a soundtrack by Paul Arditti, which went well beyond the creation of ‘atmosphere’ (Observer)

...Jean Kalman’s lighting and Paul Arditti’s subtle soundtrack create a nimbus of transfiguration around the actress (What’sOnStage)

…Paul Arditti’s sound conjures up a complete world: we hear constantly lapping water...bells, hooters and klaxons sound while panels and doors disgorge tangled chains of chairs in surreal profusion (Guardian)

…McBurney’s production has terrific momentum and Paul Arditti’s orchestrated sound effects of ringing bells and slamming doors are thrilling (TNT magazine)

…bouquets are also in order for Martin Crimp’s lively new translation, Paul Arditti’s sound (Sunday Telegraph)

…a production almost perfectly judged in every department: Paul Arditti’s sound design – thunderously slamming doors, a cacophony of bells (Independent on Sunday)

…the sound (Paul Arditti) and musical direction (Laurie Holloway) are first class (Observer)

…Paul Arditti’s sound score makes the transition from the echoing cannon shots of Arras to the booming bells of a Paris convent an event in itself (Guardian)

…the sound score, from rainfall and the thunder of passing trucks to music as subliminal as Chekhov’s breaking string, is minutely judged and locates the action simultaneously in the actual and mythological world (Times)

…the set, the lighting and (especially) the sound are elaborately designed, half realistic, half dream-like (Sunday Telegraph)

…the best sound designer in the world (Stephen Daldry)

…Scott Pask's foreboding metal-wall set, Brian MacDevitt's piercing lights, and Paul Arditti's spine-tingling sound-design make it difficult to escape from the world of The Pillowman once you've succumbed to it (which doesn't take long) (Talkin’ Broadway)

...The superb sound designer Paul Arditti, who worked on Billy Elliot, has created a soundscape that twines through the action (Observer)

…And the technical work is superb, from Ian MacNeil's scenic design to Rick Fisher's lighting and Paul Arditti's sound, which summon a sense of eternal menace hovering on the periphery. (New York Times)

...Paul Arditti's soundscape dextrously enhances this effect. He creates a weave of noise rare in the theatre, made of the small sounds familiar to anyone who has lain awake at night in a city: a dog barking, an engine starting, a crying baby (Observer 2014)


Paul Arditti Sound Design Ltd