top of page

AS A SCENOGRAPHER/SOUND DESIGNER, I'M ESPECIALLY INTERESTED IN EXPLORING EXPERIMENTAL SOUND/DESIGN-LED THEATRE PERFORMANCES.

ALWAYS APPROACHING A DESIGN FROM A DRAMATURGICAL ANGLE, I CONSIDER MY SOUND DESIGN AS WEAVING AN AUDITORY FABRIC UNDERNEATH THE PERFORMANCE, WORKING AS A INVISIBLE CHARACTER IN THE SHOW.

OR COLOURING A PERFORMANCE WITH SOUND WAVES, SO THE AUDIENCE ARE IMMERSED IN A SHARED VIBRATION. SO THEY NOT ONLY SEE A SHOW WITH THEIR EYES AND BRAIN BUT ALSO SENSE A SHOW THROUGH THE VIBRATIONS IN THE AIR.

SOUND DESIGN
 

MEDIA

Acting as creative associate and as sound designer, Jamie Lu becomes essential to the quick immersion this play requires. From the gentle waves of the opening, dock-side sequence, to the ominous music separating Guyer’s speeches into a world of deranged fantasy, the continued background noise is what, more than anything else, keeps the scenes and locations clear and easy to follow... but Lu is what helped to ground my understanding of the world and the genuine peril the character’s faced.

- All That Dazzles on Sorry We Didn't Die At Sea

Jamie Lu’s Design also provides an eerie, yet at times subtle, soundscape that elevates the piece.

- Creative Reviews UK on Declan

Jamie Lu’s sound design does just that at crucial moments, utilising a powerful, low drone that sneaks into the audience’s awareness and slowly takes over, leaving Hedda gripped by its persistence and the audience drawn to her inner conflicts.

- Mark Aspen Review on Hedda Gabler

 

The production alternating between laughter and rippling tension as the play builds to its ugly climax. This is helped enormously by Jamie Lu’s eerie sound design, which pulses surreptitiously beneath the dialogue.

- The Stage on Hedda Gabler

 

It's in ...... Jamie Lu's pulsating sound design where we get freedom, rage and passion, used evocatively when characters express their innermost selves into microphones.

- BroadwayWorldUK on Hedda Gabler

 

"The sound design by Jamie Lu is similarly smart, with some subtle atmospheric sounds that ramp up the tension just when it is needed."

- The Spy in the Stalls on Hedda Gabler

 

The changes in ... the sudden silences in Jamie Lu’s subtle sound design help to solidify changes in mood as John and Julie alternate between seducing and offending one another.

- All That Dazzles on Smoke

“under the direction of Billy Barrett and with seamless lighting and sound design by Amy Daniels and Jamie Lu respectively, the frantic monologue proves to be quite the live experience.”

- The Theatre Reviews Hub on Declan

"Jamie Lu's sound design is emotive and wonderfully punctuates each scene."

- Theatre Weekly on The Apology

 

"Jamie Lu's soundtrack rattles with dread and disturbance."

- Guardian on The Apology

 

"The sound by Jamie Lu plays a key factor in the play too. In one scene with David, as the tension rises, so does the volume of the birds then when he’s about to hit the climax in his monologue, everything stops. Small details like this are what make the performance as outstanding as it is."

- West End Best Friend on We Started To Sing

The magnificent sound and lighting design by Jamie Lu and Kevin Murphy enhance the bleakness, gradually building to an uncomfortable crescendo as the trio force themselves apart.

- Fairly Powered Productions on The Blue House (Offies Awards finalist for SOUND DESIGN)

Anchor 1

Sound Design for Theatre

Paper Crown  Directed by Tianxin Tian

Wild Duck  Directed and adapted by Xi'an Zhu

Anchor 2

Sound Design for other Media

The Mall of Possibility Narrative Environment installation by Qian Wang

The Dream Machine Directed by Sofi Orem Skoglund

Anchor 3

Sound Design Audios

Sound Arts

Seeing with Ears   A sound walk by Jamie Lu

Anchor 4
bottom of page