Composer, Sound Designer
Theatre includes: The Hairy Ape (Old Vic/Park Avenue Armory, New York); Once in a Lifetime (Young Vic); The Effect (National Theatre); It Felt Like a Kiss (Manchester International Festival); Horlicks and Armageddon (Brighton Town Hall).
Live scores include: The Fall of the House of Usher (BFI Southbank); Sci-Fi Days of Fear and Wonder (BFI/Screen Archive South East/Cinecity – at Herstmonceux Observatory and Elektriteater, Tartu); The Big Story (BBC Radio 4); Sonakinatography (Raven Row); The Midwich Cuckoos; You Want Me to Say That I Love You (Cinecity/Duke of Yorks, Brighton).
Other music performance includes: Harmonic Series (Royal Festival Hall); Infrasonic (Purcell Room/Liverpool Cathedral); Ealing Feeder (Cafe Oto/Kings Place/Cardiff Millennium Centre/Supersonic/Museum of London/Horse Hospital/National Sawdust, Brooklyn); The Invisible Telegraph of Tomorrow (Centre for Contemporary Art, Glasgow); Saisonscape (The Arnolfini/Cafe Oto); Daylight Music (Union Chapel); The Click Live (BBC World Service); Echo Fantasy (Newhaven Fort); Eye Music (Handel House).
Sarah also researches electronic sound culture and private citizens’ experience of The Cold War, speaking about these subjects for nyMusikk, The Wire Magazine, Unsound, Prima Vista, TEDx, dConstruct, the Science Museum and other hosts around Europe. She was invited by the Daphne Oram Trust to write a biography of Oram, Radiophonic Workshop co-founder – the foreword for the republication of Oram’s treatise on sound An Individual Note. She also has peer-reviewed work published by the Science Museum and Smithsonian Scholarly Press. She’s currently composing Giant, a chamber opera funded by a Jerwood Opera Writing Fellowship and supported by Aldeburgh Music.