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
Jamie Lu’s sound design underscores the action with insistent knocking, ticking clocks and a slow heartbeat, adding to a nagging sense of tension and unease.
- The Stage on Shakespeare's R&J
Throughout the show, Jamie Lu’s soundscape rumbles in the background with bell tolls and rainfall building the impending doom.
-WestEndBestFriend on Shakespeare's R&J
The ringing of school bells and echoing voices rip through the theatre within Jamie Lu’s sound design… is the icing on the cake.
- BroadwayWorldUK on Shakespeare's R&J
Jamie Lu’s sound design is strong on thunder and lightning and for those that know it, there are some touching ‘Heart Stopper’ moments as the two young lovers get together.
- TheSpyInTheStalls on Shakespeare's R&J
Jamie Lu’s sound design becomes particularly interesting in the second half.
- TheSpyInTheStalls on Gentlemen
Jamie Lu’s sound design never became intrusive, subtlety enhancing the play throughout.
Jamie Lu’s sound design brings ambient noise from around the college drifting in faintly: the distant strains of a choir singing in the chapel, protesters chanting in the quad. At times, there is also an insistent babble of distorted voices, suggesting the moral arguments playing out in the characters’ heads.
In the surprise and contrasting opening to act two … sound designer Jamie Lu, whose outside protest noises work convincingly, have a chance for a little more excess in their creativity
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.
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.
“with seamless ... sound design by ... 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."
"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)