SELECTED REVIEWS AND PRESS
Brace Brace: Royal Court Theatre Upstairs October 2024
It’s difficult to imagine the writing in better hands, here abetted by a creative team that includes the Tony-winning sound designer Paul Arditti (Billy Elliot) returning to the theatrical fold.
Matt Wolf: London Theatre
The hair-raising sound design by Paul Arditti, complete with the eerie silence of engines switching off as the hijacker storms the cockpit and attempts to throttle the captain. Then there is the keening of the nosedive... All of it feels incredibly real and dangerous.
Arifa Akbar: The Guardian
The upstairs space has been reconfigured in the shape of a plane cabin; Paul Arditti’s immersive soundscape with its whirring jet engines and ambient aircraft background noise add a touch of uncanny, thrilling realism.
Claire Allfree: The Telegraph
Together with... the roar of Paul Arditti’s nerve-jangling sound design, it’s a powerfully visceral experience in no need of words.
Tom Wicker: Time Out
It’s a real coup de theatre and huge plaudits belong to director Daniel Raggett and the creative team, including Anna Reid (designer)... and Paul Arditti (sound).
Theo Bosanquet: WhatsonStage
The production, directed by Daniel Raggett and designed by Anna Reid with Paul Arditti’s gripping soundscape, does have an impact.
Aleks Sierz: The Arts Desk
And at times, BRACE BRACE becomes a bit like an immersive experience of a plane crashing in real time - the lighting [Deanna Towli and Lucinda Plummer] and sound (Paul Arditti) are so terrifying and effective that they are almost too vivid... At one point, the violence, sound and fighting (Fight Director Alex Payne) feels so realistic, I actually have to look away.
Beth Bowden: All That Dazzles
Stranger Things 2023 ⭐⭐⭐⭐⭐
Great sound design by Paul Arditti
The Guardian ⭐⭐⭐⭐⭐
Paul Arditti's throbbing, edgy soundscape ratchets up the tension. This is exhilarating live theatre
Financial Times ⭐⭐⭐⭐⭐
The theatrical event of the year. Standing ovations are ten a penny these days but this show thoroughly deserves the one it gets.
Daily Telegraph ⭐⭐⭐⭐⭐
Emotional states are introduced by Paul Arditti’s all-encompassing sound.
Variety ⭐⭐⭐⭐⭐
Metro ⭐⭐⭐⭐⭐
Broadway World ⭐⭐⭐⭐⭐
Evening Standard ⭐⭐⭐⭐⭐
WhatsonStage ⭐⭐⭐⭐⭐
Stranger Things 2024 ⭐⭐⭐⭐⭐
Profile: Paul Arditti by Zoe Milton for the ASPD
Paul Arditti is a Sound Designer with a huge catalogue of work. He’s at a point in his career where he can enjoy and reflect on the confidence that experience affords him.
He is an Associate Director at the National Theatre, a role that is coming to an end next April. He’s looking to the future, hoping for more time to enjoy the finer things in life, like long cycle rides and getting out into nature. He is a founding member of the ASDP and was its treasurer for several years.
He is a passionate advocate for better conditions in the industry and creating stronger communities for the people who work in it. Paul is clearly very busy, but he has taken time out to speak to us about his process, his relationships and his latest production, Stranger Things: The First Shadow.
Talking about the process behind the giant that is Stranger Things: The First Shadow (STFS) doesn’t faze him, but we start our time together talking about cycling and houses, plus a tiny sprinkle of the joy of dogs. I know from experience that Paul has an unfathomable attention to detail. Not just within his design process, but also through the people he surrounds himself with. He takes his relationships very seriously and when I visit the theatre, his team are genuinely excited to see him back in the building. As a result, I end up hanging out for much longer than I expected, as he chats with everyone and finds out about their days. It is a joy to behold.
STFS is a complex show that kept evolving right up to the last moment. The version performed on Press Night was still being programmed at 4:30pm. Right up to the wire, scenes were being re-written, new Sounds and music were being composed. “Creating this show was mammoth,” Paul says. “We did two four-week workshops followed straight away by six weeks of rehearsals, four weeks of tech, dozens of previews and we were still adding content on the last day.”
The show may have been mammoth, but the Phoenix Theatre stage is anything but giant. The set feels pared back, there are few flats on show. The show starts on a bare stage with multiple set pieces that are rotated on and off stage in balletic choreography. One piece of stage-filling 3D scenery instantaneously appears and disappears, somehow folded into a space 60cm deep – a design feat that is puremagic to this Sound person’s eyes.
The result is a true theatrical experience and one that is a real team effort. Paul beams when he talks about his team, from his associates Rob Bettle and Chris Reid to his magician of a No.1, Andy Waddell; from his backstage team Joe Berry and Liv McColl, to his newest team member, Sarah, the hard fought-for No.4 who is going to take the pressure off the backstage team and provide all-important cover and continuity. It’s not just the Sound team: he is excited to explain to me about the wonderful DSM, Jen Tait, who can instantly recall any one of Paul’s thousand or so cues by its number. Which is no mean feat when you consider that the LX department have a completely different numbering system and most of the Sound cues are MIDI-linked to LX!
The show is a proper theatrical extravaganza, with exceptional Sound that is a seamless part of the action. Lightbulbs pop and fizz, voices boom and bounce through the auditorium and jump scares literally pull you out of your seat. It is a good example of what happens when collaboration is organic and every member of every team is focussed on working together to create something magical. The feeling you get when you talk to Paul is that he’s happy and close to contented with the end result, something that rarely happens. He and his team have made something remarkable and he’s proud of it, he’s proud of them.
I met with Paul on the day of his Olivier nomination announcement. At warm-up every single member of the company came over and congratulated him, or just came up to say hello. This is a Sound Designer who has made a real impact on the company and is a valued and respected member of the team.
Stranger Things, I should explain, for those people who avoid internet sensations and TV drama in general, is available to watch on Netflix. The first four seasons have wowed viewers around the world, and there’s a fifth on the way. Like the Netflix series, the stage show is set in a small town called Hawkins in Indiana, which is plagued by strange goings on and has a large and mysterious out-of-town secure facility that no one initially pays any attention to.
The stage show isn’t just a cheap tie-in, it is a new story that stands alone. Produced by
Sonia Friedman Productions, the producers of Harry Potter: The Cursed Child, STFS follows a similar formula of existing in the same universe but not the same timeline as previous episodes. STFS takes us back to the teenage years of the TV show’s adult characters and tells the untold story of one of the main characters. At its heart, it is a boy meets girl story with a twist, and you don’t need to know the TV show to enjoy it.
Paul tells me about the first plans for STFS, which were floated back in 2019. The original idea was to create a blueprint show, which could then be copied and pasted simultaneously in other cities.
“There was a sense of urgency. We were working to Netflix’s original season five release dates, as our story fits between Netflix seasons four and five,” says Paul. Over several years of discussions, the reality of making such a huge and complex show in many places at once became clear. A more conventional journey was planned instead, with a first production in London, followed by a period of reassessment, hopefully a second production in New York, and then on to other territories. The American writers and actors’ strikes changed things too, as Netflix was unable to release season five of Stranger Things as planned.
“Filming for season five is only just getting underway, almost a year later than expected”, says Paul. “Plans were made and then remade. One of the early ideas that stuck was to have two Sound associates in London rather than one.” The logic behind this was that the rapid roll-out of the show to other cities would need multiple associates in different places at the same time.
“The promise and the process were not entirely in alignment on this show,” admits Paul, “But it has worked out well so far.”
Paul worked with Rob Bettle of Sound Quiet Time on the system specification and installation, and with Chris Reid to help with content.
“Working with two associates made the workflow as efficient as it could be,” Paul says. “Chris took ownership of large sections of the content creation. It was hugely reassuring that I could entrust him to work independently alongside me at the production desk and know that he would deliver.”
Having used a loudspeaker system based around d&b Soundscape to great effect at the Bridge Theatre for Guys and Dolls, Paul’s first plan was to use the same system for STFS. However, lack of space for speakers in the Phoenix Theatre alongside Miriam Buether’s set design, plus the need for a super-fast workflow when creating and delivering Sound effects during the production period led Paul in a different direction.
“I decided to go ‘old school’ and use a point source system PA, predominately based around Meyer Ultra X40s and X20s,” explains Paul. “I needed high quality and high SPL, but with a fairly small footprint, and the latest generation of Meyer speakers are unbeatable in that regard. I sacrificed
the amazing ability of Soundscape to locate objects in space, for a simpler system that allowed faster programming. The result works well for both the actors’ voices and for the recorded sounds.”
Arditti knew from the workshops that it was going to be important to deliver highly localised sounds, not just from the myriad practical props, but for more ethereal moments. Having a system that could place these SFX accurately, but with minimal extraneous programming, was key to responding quickly in technical rehearsals, especially when the show was growing and developing right up to the last moment.
“We looked at several different automated systems to locate sounds,” Paul recalls, “and ended up basically creating our own system. We made a series of timed zones on stage and around the auditorium to be accessed via QLab, so we were able to quickly place audio in different locations. It was important to keep up and not have to go back and tidy everything we placed during rehearsals.”
On stage, Arditti installed spot effects speakers into both moving and static set pieces. Practical props and furniture all required wireless speakers.
“Most of the practical props make sounds,” says Paul, “so we started out with over 30 IEM channels. This got cut down to 22 or so, which was a bonus, because we had maxed out the available busses on the DiGiCo 338T on day one and were able to reuse the redundant IEM outputs for other things!”
In the auditorium, the surround system is cleverly situated on piping that runs around the stalls and circle levels. This was a design idea from Rob Bettle, which allowed the team to place more speakers in better positions without needing to drill holes or chase cables for each speaker. It also helps out the lighting and special effects departments by providing space on the bar for their units.
The sound system works perfectly and feels completely integrated. After watching the show, the word I came away with was seamless. Sound and video merge effortlessly together to transform the environment in a matter of moments, and the old-school theatrical magic is completely at home next to the unbelievable technology, which doesn’t overshadow the acting but completely supports it.
Paul is grateful for the help Netflix have given throughout the process. “When it came to recreating the famous Stranger Things sounds, the Netflix studio team could not have been more helpful”, he explains. “We had access to musical and sound effects assets, even original Pro Tools sessions. There was a moment when we realised we needed a recognisable live vocal effect from the TV show and Netflix simply gave us access to the appropriate Pro Tools session with all the plug-ins and effect parameters they had been using. We just had to copy and paste it into Ableton Live and we were pretty much set. We also have Stein and Dixon’s music stems that we’ve been able to weave into the show. DJ Walde has composed all the original music, but having the ability to tease in the themes from the TV show has been brilliant.”
Paul visits all of his running shows as often as he can and he’s already seen STFS several times since Press Night. “From experience, I know that it’s easy for things to slip,” he explains. “I generally find that if things are going to change, they change pretty soon after press night, then they get
entrenched, so I make sure I stay close and watch the shows as often as I can. The changes can be due to anything, whether that’s blocking that has changed, or a moment of character work that shifts away from the original intention. It can have a dramatic effect on the sound for a show, so it’s better to keep an eye on things.”
The sound team at the Phoenix is at the end of an intense process, but you get the feeling that they’re all happy to be there and excited by the work ahead. Meeting them and getting to spend a day in their world was fantastic. The mood was reflective, with the EPK (Electronic Press Kit, used for promotion for digital media and broadcast) being filmed the day before I arrived. The long-delayed promise of a lie- in was tantalisingly close! Paul has his mind on Broadway and the likelihood of more rehearsals for that. He also has the recast for Guys and Dolls at the Bridge to concentrate on. I get the feeling that as much as Paul says he is going to start taking less work and going on more bike rides, he’s going to be busy for a little while yet!
MORE INFO
uk.strangerthingsonstage.com
Guys and Dolls 2023 ⭐⭐⭐⭐⭐
Spectacular design is consistent in every aspect of this production. Paul Arditti’s sound design is crisp and enchanting, inviting us into the underbelly of New York City from the moment we enter the space.
London Theatre Reviews ⭐⭐⭐⭐⭐
https://www.londontheatrereviews.co.uk/post.cfm?p=15270
A theatrical extravaganza that explodes every which way
Daily Telegraph ⭐⭐⭐⭐⭐
Sheer theatrical bliss
The Times ⭐⭐⭐⭐⭐
A thrillingly immersive new Guys & Dolls
The Observer ⭐⭐⭐⭐⭐
Blissful and exhilarating
Evening Standard ⭐⭐⭐⭐⭐
There is nothing like this anywhere. Five stars and then some
Metro ⭐⭐⭐⭐⭐
A game-changing production. Simply astonishing
Time Out ⭐⭐⭐⭐⭐
Caroline Or Change 2022
Settling into my seat at Studio 54, I let the sound design begin to transport me like a musical overture — the chittering of creatures and the bubbling of water, echoing from tall grasses and low haze on the edge of a Southern swamp.At each performance of “Caroline, or Change,” I look forward to this calming bit of preshow acclimation, even as a Confederate statue stands imposingly at center stage. And I keep my eyes peeled for the theater’s Covid safety enforcer patrolling the orchestra, arms crossed, scanning the audience for any unmasked faces. Spotting him calms me, too.When the lights dim, the statue is wheeled off, and in its place when they come up again is Caroline Thibodeaux, in the person of the astonishing British actor Sharon D Clarke, doing laundry in a Louisiana basement in 1963.I didn’t set out to see this musical masterpiece by Tony Kushner and Jeanine Tesori seven times this season, but I have. For the record, I’d been scared to see it even once — scared the way you get when you cherish a work of art so fiercely that you don’t want to risk finding it diminished.
Laura Collins-Hughes https://www.nytimes.com/2022/01/07/theater/caroline-or-change-multiple-views.html
Local Hero 2019 ⭐⭐⭐⭐⭐
Paul Arditti’s sound design is oft understated but peaks in the right moments, with helicopters swooping overhead and motorbikes screaming across the stage - without the audience ever seeing either items. It’s brilliantly done. Arditti’s work also ensures we hear the excellent 7-piece live band under the direction of Phil Bateman. The band deliver Knopfler’s score with precision and it’s clear they enjoy every moment of being seen on stage, especially during the wonderful ceilidh scene.
Brett Herriot Scots Gay Arts
Caroline, Or Change 2018 ⭐⭐⭐⭐
The entire creative team has done a stellar job. Fly Davis's design utilises the intimacy of the Hampstead to the maximum, whilst there is superb sound and lighting from Paul Arditti and Jack Knowles respectively.
It's thrilling to see a show such as Caroline, Or Change evoking a huge response in London in 2018. This is a must see for theatregoers - you don't want to miss Sharon D Clarke giving the masterclass of all masterclasses in this stellar revival.
Amadeus 2018 ⭐⭐⭐⭐⭐
In the cavernous Olivier auditorium, it takes a special talent – in my experience – to get all the sound – dialogue, music and effects – just right. Here we have speech over live music with the economical use of radio mikes, we have
crescendo-enhanced punctuation marks at important moments in the narrative and we have the pure diamond-encrusted resonance of Mozart’s music permeating the space and enthralling the audience. In Sound Designer Paul Arditti therefore, Longhurst is fortunate enough to have been able to unleash his own jewel on the proceedings.
Arditti gets the acoustics, feels the rhythm and identifies the vibe. The show depends on natural, balanced sound and Arditti delivers: Amadeus is a beautiful play, Longhurst’s is a consummate production and Arditti’s input elevates it to greatness.
Peter Yates LondonTheatre1.com
Mary Stuart 2016 ⭐⭐⭐⭐⭐
This is perhaps the key question in Icke’s ferociously good update, a genuinely moving meditation of the burden of power written in seamless blank verse. It’s performed on a simple, round wooden set with the cast in chic modern dress, adorned only by constant, kinetic movement and a beautiful, ever-present ambient sound design from Paul Arditti (with an original song from Laura Marling at the end).
Andrzej Lukowski Time Out
Mary Stuart 2016 ⭐⭐⭐⭐
I don’t want to spoil it by disclosing the unforgettable way Icke’s production develops this sense of ironic reversal, except to say that the sequence is played out to an original song by Laura Marling. Throughout, the choreography of the women’s symbolic proximity to each other has an unforced rightness and the excellent sound design by Paul Arditti unobtrusively ministers to the tense atmosphere. A remarkably satisfying achievement.
Paul Taylor The Independent
Backstage Profile: Paul Arditti
Rufus Norris has appointed Paul Arditti as an associate director of London’s National Theatre. The small team of associates have key influence over the artistic policy of the National Theatre, from the commissioning of work to the operation of the building, and have predominantly been actors and directors. This is the first time a sound designer has been appointed.
Arditti’s appointment is a reflection of the increasing significance of sound and sound design as having an integral artistic contribution to productions. As Norris has noted: “Paul Arditti is a theatremaker first and a sound designer second. Sound design is increasingly a hugely complex and integrated part of our theatre language. To have that voice at the table will be invaluable.”
When announcing the appointment, Norris said: “His massive wealth of experience of theatre generally, and exacting pursuit of excellence in his chosen field, make Paul a terrific addition to our team. As with all our associates, he will contribute to the philosophical and artistic steering of the organisation as a whole, but he will also have sound design as a particular area of focus.”
Arditti is a world-renowned sound designer, whose recent work includes Charlie and the Chocolate Factory, King Charles III, One Man, Two Guvnors, London Road and Billy Elliot the Musical (for which he won an Olivier award and a Tony award). He is a founder member of the Association of Sound Designers.
In response to his appointment, Arditti said: “It is excellent that Rufus is choosing a wide pool of associates, representing not just theatre directors, but everyone who deserves a say in the creative output of the NT.”
AK Bennett-Hunter The Stage