Current / coming soon:
Major new project with BBC VR (2018 / 2019)
Hamlet (Royal Shakespeare Company, dir. Simon Godwin. Current national tour)
Our Country’s Good (Nottingham Playhouse / Ramps On The Moon, dir. Fiona Buffini. Current national tour)
Much Ado About Nothing (Rose Theatre, Kingston, dir. Simon Dormandy. Spring 2018)
Jeeves & Wooster in Perfect Nonsense (Theatre By The Lake, Keswick, dir. Philip Wilson. May 2018)
The Whale (Ustinov Studio, Theatre Royal Bath, dir. Laurence Boswell. June 2018
Sense & Sensibility (Theatre By The Lake, Keswick, dir. Juliet Forster. July 2018)
Touching The Void (Bristol Old Vic, dir. Tom Morris. September 2018)
Sound House (collaboration with the Society Of Strange & Ancient Instruments, currently on national tour).
Jon’s work is featured in the V&A Museum’s current Transformation & Revelation exhibition of the work of leading stage designers.
Theatre: Recent work includes collaborating with John Malkovich on Good Canary at the Rose and collaborating with Jamiroquai’s Sola Akingbola on the score for the RSC’s smash-hit 2016 production of Hamlet. He composed / sound-designed Bristol Old Vic’s hugely acclaimed production of Owen Sheers’ Pink Mist (nominated for Best Sound Design in the Off-West End Awards), and music / sound-design for Theatre Royal Bath’s production of Florian Zeller’s The Mother, starring Gina McKee, recently nominated for Best New Play in the WhatsOnStage Awards. His music was also recently heard in Theatre Royal Bath’s national touring production of Alan Ayckbourn’s Things We Do For Love, starring Natalie Imbruglia; other theatre work also includes the National Theatre’s smash-hit European premiere productions of Tennessee Williams’s Spring Storm and Eugene O’Neill’s Beyond the Horizon, which had sell-out extended runs in the Cottesloe – ‘a triumph on so many levels I would need at least twice the space to do them justice’ (Independent – 5 stars); ‘you won’t find much anywhere in Britain to top Laurie Sansom’s superlative productions’ (Guardian – four stars); ‘thrilling, illuminating and deeply affecting’ (Telegraph – five stars). Both productions received national acclaim and rave reviews from, amongst others, the Times, Telegraph – ‘one of the most thrilling theatre offerings of the decade’ – and the Guardian.
Screen: Jon’s recently been working with Al Jazeera on a series of new documentaries, and also worked recently with Firecracker Films’ on their smash-hit documentary Married To The Moonies. Meanwhile The Guitar, a new short from Eye Grab Pictures and director Richard Beecham, recently premiered at the Jewish Film Festival, and he’s currently composing / sound designing for several other film shorts.
He’s also recently worked on music and sound design for films forming part of the promotional package for the rebranding of Gatwick airport.
Radio drama: Jon’s most recently collaborated with Tony Harrison on his new adaptation of Euripides’ Iphigenia in Tauris for Radio 3, and some of his other recent music and sound-design for BBC radio drama includes the serialisation of Ursula Le Guin’s Earthsea novels and a new dramatisation of Toni Morrison’s Pulitzer-winning novel Beloved. Other radio work includes Peter Flannery’s adaptation of Robert Pirsig’s cult 70’s classic Zen And The Art of Motorcycle Maintenance for BBC Radio 4’s Saturday Drama slot (now available in the BBC shop) and Erebus, Jo Shapcott’s poetic retelling of the doomed 19th-century Franklin expedition to the Arctic, both for Radio 4.
Other radio includes music for Radio 4 Extra’s serialisations of H P Lovecraft’s The Shadow Over Innsmouth and At The Mountains of Madness), and Radio 3’s acclaimed adaptation of H G Wells’ The Time Machine, starring Robert Glenister, reviewed by the Guardian and the Stage.
His music and sound score for BBC Radio 4’s acclaimed docu-drama What I Heard About Iraq received a Jury Special Mention at the Prix Italia.