I have been working as a sound designer and composer in fringe theatre for three years, working on a wide range of shows of varying scales. My design is driven by studio and field recordings, often starting with a piano and sampler, and my work is often influenced by synthesised textures, creating undulating soundscapes and atmospheres. I specialised in electronic composition, focusing on audio manipulation, new ways of scoring and notating, as well as working with binaural recordings. I am very comfortable with audio editing and recording, and have lots of experience with programming keyboards, QLab files, as well as with podcast production and editing. I’ve worked on many small to large scale fit ups and installations and am very comfortable working as a sound engineer, prod and operator.
Projects:
The Grim - Southwark Playhouse Little, November 2025 (Writer: Edmund Morris, Director: Ben Woodhall)
The Trials - Southwark Playhouse Large, August 2025 (Writer: Dawn King, Director: Vicky Moran)
It’s Gonna Blow! - Pleasance Queen Dome, Edinburgh Fringe 2025 (Writers: Sean Wareing and Freddie Walker, Director: Lara Lawman)
Lydia Bennet Works in Finance - Greenside, Edinburgh Fringe 2025 (Writer: Trelawny Kean, Director: Stacey Carmichael)
The Workingman’s Club - Lion and Unicorn, November 2024 (Writer: Jessica Taylor, Director: Micha Mirto)
The Grim - Underbelly Edinburgh 2024/Old Red Lion, January 2025 (Writer: Edmund Morris, Director: Ben Woodhall)
Bloody Lovely Halloween Special - Canal Café Theatre, October 2023 (Writers: Bloody Lovely Theatre)
Norman’s Year - Canal Café Theatre, January 2023 (Director: Joe Warwick)
Head of Sound - Durham Student Theatre 2021
Test Bed - Wrong Tree Theatre, Durham, June 2019
“[The sound design] conjures unease, sharpening sudden shocks and adding atmosphere”
“Fergus Carver’s sound design adds atmosphere and enhances the play’s chilling moments”
“the hauntings feel uncomfortably close... You feel as if the environment exists around you”