The Central School of London
in Association with the
Royal National Theatre Sound Department
Present

A Colloquium on

Theatre Sound Design

The First International Meeting of the OISTAT Sound Working Group

by Richard K Thomas

Richard K Thomas was instrumental in forming the Sound Working Group and formerly its Head. He is Professor of Theatre Sound Design and Head of Design & Technology at Purdue University

On June 12th to 15th, 2002 the Central School of London and the Royal National Theatre jointly sponsored the first International meeting of the OISTAT Sound Working Group.
	Hosts Ross Brown and Gregg Fisher of London's Central School worked tirelessly to create an unforgettable experience for about 40 sound designers and composers from 12 different countries.
Before the Colloquium officially got under way, we were treated to a marvelous performance of Euripides' Baccai, directed by Peter Hall, with a beautiful musical score by Harrison Birtwhistle, and lush sound design by Paul Groothius. The Royal National Theatre sponsored the opening reception for the Colloquiumon a beautiful terrace overlooking the Thames River.
	After a warm welcome from our hosts, we immediately retired to a local pub to get acquainted with each other better!
Some of us couldn't help play hookie for a few minutes, and slipped up the street to visit the home of the Bard himself!
	We were quick to learn that this was only a reproduction of Shakespeare's Globe, and with a little further investigative meandering, we found the original site itself.
Many of us stayed at the Swiss Cottage Hotel, which led to further socializing!
It's good to see the Sound Working Group live up to the fine OISTAT tradition that insists that the most important part of our meetings together is....meeting together!

The second day of the Colloquium began at the Circle Cafe of the Royal National Theatre, where facilitator Paul Arditti, resident sound designer for the Royal Court Theatre, led group discussions around the themes: From Script To Performance - the Tools We Use, The Designs We Make. In the afternoon session Paul once again led group discussions around the themes: Why Did They Install That? What Works, What Doesn't. As one might expect, the discussion was lively and fast paced, full of interesting perspectives and keen observations!
	In the afternoon we all boarded a special bus and headed to a tour of one of the largest sound rental houses in London, Orbital Sound. The modest exterior gave passersby on the street little indication of the vast treasures that lurked inside!
Racks and racks of primo gear had sound designers from all over the world drooling!
	The folks at Orbital really rolled out the red carpet for us, providing the tour bus, a lovely and lavish wine and cheese reception, and special hands-on opportunities with some of the newest and most interesting sound equipment to appear on the theatre sound scene!
The folks at Orbital really rolled out the red carpet for us, providing the tour bus, a lovely and lavish wine and cheese reception, and special hands-on opportunities with some of the newest and most interesting sound equipment to appear on the theatre sound scene!
	We left Orbital Sound and Headed to the impressive Theatre Museum at Covent Garden for yet another reception(!)
...and a pre-show discussion of the sound for the hit West End musical Shockhead Peter by Sound Designer Roland Higham.
	And then it was off to the Alberry Theatre to hear Roland's sound design in action at the inimitable Shockhead Peter. It was a marvelously offbeat performance and a striking contrast to our theatre experience at the Royal National the day before! All in all, a wonderful day of sound and theatre for everyone.

The third day of the Colloquium began at the Circle Cafe of the Royal National Theatre, where Chris Shutt, Sound Designer for the Royal National Theatre, and Gareth Fry, freelance sound designer for the Royal Court and Royal National Theatres, among many others, facilitated discussions around the topics:

Textual Interpretation: Working with Directors and Designers Towards an Integrated Scenography.

Paul Arditti returned and introduced Stephen Warbeck, Academy Award winning composer for Shakespeare in Love. The two then discussed the afternoon's topic:

Original Music for Theatre --Considerations and Collaborations.

In the afternoon session, Chris Shutt and Gareth Fry led group discussions around the themes:

Soundscapes in Real Time: Working in Devised Theatre.

Paul Groothius then gave a marvelous prepatory talk on his sound design for the evening performance many of us would audition:

My Fair Lady.

and Ross Brown led the final discussion of the day,

The Dramaturgy of Sound.

The afternoon was capped off by a delightful "Sound Provocation," a sonic performance in the Cathedral Windows Foyer of the Royal National Theatre by Masters students from Central School of London. In the evening we were able to listen to Paul Groothius' magnificent sound design for the Trevor Nunn revival of My Fair Lady.

The final day of the Colloquium shifted the site to the Central School of London...

...for the first OISTAT Sound Working Group Meeting.

Rick Thomas chaired the meeting. You can download the minutes from the meeting by clicking here:

2002 OISTAT Sound Working Group Meeting Minutes

The Central School provided a marvelous buffet lunch for the Sound Working Group, and legendary British Sound Designer, John Leonard made a guest appearance and gave his encouragement to the group!

After lunch, Vladmir Franz presented some of his recent compositions to the delight of the Sound Working Group.

A long and wonderful Colloquium had finally grown to a close, and a large number of the participants wandered over to the historical Swiss Cottage Inn for one last pint of ale and some fond goodbyes to newfound friends.

But all was not quite over yet....

In what must be one of the most wonderful codas of all time, that evening, we were treated to one last thrilling example of London's famous West End Theatre, a preview of the new Andrew Lloyd Weber produced musical, Bombay Dreams.

Of course, we were allowed to sneak in early and talk to the sound mixers before the show.

The Sound Working Group owes a tremendous debt and gratitude to the Royal National Theatre, the Central School of London, Orbital Sound, the Theatre Museum at Covent Square, Ross Brown, all of the presenters and participants and especially to Gregg Fisher, who worked tirelessly over many months to make this exciting inaugural event one that everyone would never forget.

Our tremendous thanks to everyone!

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