Carolyn Downing, Sound Designer

Carolyn’s Sound Design credits include: Dimetos (Donmar Warehouse), All My Sons (Schoenfeld Theatre, New York), Tre Kroner – Gustav III (Royal Dramatic Theatre, Sweden), State Of Emergency, The Internationalist, Habitats, Under The Curse (Gate Theatre), Ghosts (Young Vic Theatre, Wilson Brothers Project), Dirty Butterfly (Jerwood Director’s Award, Young Vic), Othello (Salisbury Playhouse), Moonlight & Magnolias (Tricycle Theatre), Flight Path (Out Of Joint), Absurdia (Donmar Warehouse), Topdog/Underdog (Sheffield Crucible Studio), Oxford Street, Alaska (Royal Court, Jerwood Theatre Upstairs), Angels in America: Millennium Approaches & Perestroika (Headlong Theatre), The Winter’s Tale, Pericles, Days of Significance (Royal Shakespeare Company – Swan, Stratford, Tricycle Theatre, London & Davidson College, NC), A Whistle In The Dark, Moonshed (Royal Exchange Theatre, Manchester), Hysteria (Inspector Sands), Project D: I’m Mediocre (The Work Theatre Collective), Arsenic and Old Lace (Derby Playhouse), The Water Engine (Theatre 503, in association with The Young Vic), Blood Wedding (Almeida), Gone To Earth (Shared Experience), Waiting For The Parade (Mountview Academy of Theatre Arts), Stallerhof, A Doll’s House, The Double Bass, The Provoked Wife and Mongoose (Southwark Playhouse), The Watery Part of the World (Sound And Fury).

Carolyn’s associate sound design credits include: Some Trace Of Her (Royal National Theatre), Harvest (Oxford Playhouse), The Overwhelming (Royal National Theatre), O Go My Man (Out Of Joint) Macbeth (Out Of Joint, National and International Tours), Forty Winks (Royal Court Theatre), By The Bog Of Cats (Wyndham’s Theatre) and Fix Up (Royal National Theatre). Other credits include Assistant to the Sound Designer on Billy Elliot: The Musical and No.1 sound operator on Blood Brothers at the Phoenix Theatre.

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