Theatrical design is a collaboration in story telling. I seek to support those around me in telling that tale and aim to inspire their work with my sound design, as I find inspiration in theirs. Our creativity is at its best when the individual elements shape and elevate each other.
Sound design should consider both what you hear and how you hear it. Designing a system that supports the needs of the show is as nuanced as the sound that is played through it, and both aspects are critical to a successful design.
Since 2014 I have specialised in theatre sound, working as operator, production engineer, associate and designer on a variety of productions.
I have been working in technical theatre and events since 2005, initially as a sound engineer for live events. I have experience ranging from pitchside PA for Edinburgh Rugby at Murrayfield and large firework PA systems to numerous bands, conferences, awards ceremonies and school concerts. Alongside that I spent several years as a venue technician, technical and production manager at the Edinburgh Festival Fringe supporting companies from around the world.
I am a professional member of the Association of Sound Designers .
“Richard Bell and Ali Hunter’s respective sound and lighting designs are particularly noteworthy – indeed it becomes hard to separate the punishing rain and howling wind coursing throughout the theatre with the equivalent dreary weather outside of the north London venue.” - WhatsOnStage for Fix
“All this is pulsed by Ruth Chan’s multi-faceted score and Richard Bell’s evocative sound design” - The Herald for Strange Tales
“Chris Davey’s lighting has moments of serenity, but when a train passes or a death happens, the lights are turned directly on to the audience. This disorientating effect is heightened by Richard Bell’s equally disturbing sound design.” - The Stage for The Ladykillers