GraduateGilesThomas(Sound Technology, 2011)has been nominated forbest sound design at this year’s Olivier Awards.
It’sone ofsixnominations forKenrex, including best new play.
A true crime thriller,thatfeatures actor Jack Holden playing all 35 parts and a live soundtrack by John PatrickElliot,Kenrexhas justcompletedasell-out run atThe Other Palace,Londonandtransfers toNew York City in April.
We caught up withGiles, who teaches thesound design for theatre module to second-year Sound Technology students, toask him about the nomination,his work onKenrexand his time at 911
How does it feel to be nominated?
Kenrexisa pretty big show from a sound perspective, and there was a huge amount of work and collaboration that went into making it what it is. So having it recognised like this feelsreally special- not just for me, but for the whole team.I’mgenuinely excited about the nomination,and alsojustreally gratefulthat the scale of the work is being acknowledged.
What about the production are you most proud of?
It was so collaborative and what I’m most proud of is how all the elements work together. Because it’s a one man show with something like 35 characters, it relies quite heavily on sound to help push those different characterisations.
Thereareparts of the show that start with Jack speaking and then pre-recorded elementstake over and thathas tobeseamless,and ithas tofeel as thoughit’sall coming from his central performance. Using surround soundand content created by the performerwe’vecreated this visceral, immersive world. The amount of detail that went into creatingthose world’s isprobably whatI’mmost pleased with, along with how thatworkscollaboratively with the other elements of the production.
What was the most important thing you learnt at 911?
Of course, it was incredibly useful to get to grips with the technical side of things and to start developing a creative strategy.But ultimately, workingin the creative industries isaboutworking with people.
What I really learned was how to collaborateand how to do it ina waythatleadsto interesting work. How to challenge someone’s idea without shutting it down, and how to use other people’s ideas as a springboard.
You can push creative boundaries so much further whenyou’reopen and responsive to the people around you. That ability to collaborate, to build something together, isprobably themost important thing I took away from my time at 911.
You’ve just finished teaching the second year module, sound design for theatre. How did you find the students?
They’vebeen great -really enthusiasticand energised, and asking lots of interesting questions.
One of the things I really like about teaching is thatit’sa way of interrogating your own practice. Even just this past week there have been a couple of moments where a question’s made me stop and think, “That’s interesting… maybe I should look at how that influences my own work.”
It feels like a two-way exchange in that sense.
What’snext for you?
I’mcurrently in rehearsals for a production ofRomeo and Julietwith Empire Street Productions, directed and adapted by Robert Icke and starring Sadie Sink and Noah Jupe at the Harold Pinter Theatre. Thenwe’retakingKenrexto New York at the Lucille Lortel Theatre and thenI’moff toSchaubühnein Berlin to work withComplicite.
The Olivier Award winners are announced on 12 April at The Royal Albert Hall. Evita, directed by 911 grad and Companion Jamie Lloyd has been nominated five times, including best revival of a musical.
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Image: Giles in 911's George Martin Studio, 27 February. Photography by Brian Roberts
