Theatre & Live Events

SOUND DESIGN

THEATRE - LIVE EVENTS - OPERA

 

 

Rubyyy Jones' FRIDAAA from Rubyyy Jones on Vimeo. Sound design by Kirsty Gillmore (Sounds Wilde)

Credits 

 


As well as an experienced sound designer and sound engineer I am also a fully trained classical musician, composer and experienced performer. My skills include sound effects creation, voice over recording & production, score reading, composition and sequencing and sound operation. Experienced user of QLab and Show Cue System, ProTools, Reaper and a wide variety of sound desks, microphones and additional sound equipment.

Please contact for availability

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Press & Reviews

The Little Prince (Arcola Theatre, February and May 2016)

"sound design that adds an aural vividness"  - Grumpy Gay Critic

 

Cancel the Sunshine (Hope Theatre, March 2016)

"The sounds of London, the Police Sirens, traffic the hustle and bustle from outside adding to the already atmospherically designed soundscape by Kirsty Gilmore."  - Those London Chicks

"Jai Morjaria's light and Kirsty Gillmore's sound also working well to give an all-encompassing feel to the production that isn't easily forgettable." - There Ought To Be Clowns

"The combination of light, sound and video...really strengthens the play and allows Thomas a solid background to bounce against" - The Upcoming

 

l'Ospedale (Wilton's Music Hall, November 2015)

"the humour is savagely politicised. (Abati's prologue and epilogue become speeches from a duplicitous minister in the House of Commons, complete with baying backbenchers)"  - The Times

"The spoken prologue and epilogue (in English) come over a PA from a distinctly David Cameron-like character (the phrase "big society" appears at least once) with a background of distinctly House-of-Commons-like sound effects. It's all good, riotous fun." - Bachtrack

"To set the scene, the voice of a deceiving MP at the House of Commons acts as a symbol of health from Abati’s prologue and epilogue, with cheering backbenchers in the background. This resonates with today's political squabbles, particularly the NHS." - Trend FEM

 

Boris Godunov (Jack Studio Theatre, January 2015)

"the stark and morose soundtrack by Kirsty Gillmore is astonishing" - What's On London

"...the show was fabulous. One of my favourite parts was the use of a gentle background sound that could have been a heartbeat or a clock ticking down slowly to the end for Boris and Grigory-Dimitry and their final showdown." - LondonTheatre1.com

"the background sound effects of a beating drum, crowds and crossfire cleverly help build a defined atmosphere and move the scenes on well." - The National Student

 

Murderer (Upstairs at the Gatehouse, March 2014)

"A nod to Philip Lindley’s set which is of the usual Gatehouse classy standard with Kirsty Gillmore’s sound design going a long way to scene and atmosphere creation" - Jonathan Baz Reviews

 

Love on Trial (Ovalhouse, Februrary 2013)

"This is a multi-media show, with voiceovers playing just as large a role as Patrick’s, and scraps of news headlines and music played throughout. It is not through visual aid, but through recordings and African accents that we are transported to Malawi" - The Londonist

 

The Shadow Formula (Greenwood Theatre, June 2012)

"I was particularly impressed with the sound design (Kirsty Gillmore & Sounds Wilde)...The entire play was set to a wonderful soundtrack including Al Bowlly’s ‘I Can't Get Mississippi Off My Mind’, ‘The Hawaiian War Chant’ and ‘The Sheik of Araby"The Vanity Case 

Whether it is music, costumes, lighting or set, everything looks and sounds authentic...Anna Hourriere (Designer), Charlie Morgan Jones (Lighting), Kirsty Gillmore (Sound) and Nikki Wright and Helen Taylor (Hair & Make Up) deserve praise for their role in creating period atmosphere - Remote Goat