PRESS

  • …massive lighting rig by Patrick Woodroffe and brilliant sound by Gareth Owen that keeps the energy up.

    Bat Out of Hell, Coliseum, West End. The Stage
  • …and particularly effective sound design by Gareth Owen…

    Young Frankenstein, Garrick, West End. WhatsOnStage
  • …it’s safe to say that no musical currently around – or maybe ever – has this sound.

    Come From Away, Broadway. Newsweek
  • Think you know about theatre sound? Turns out you’ve got a Hell of a lot to learn about ROCK & ROLL!!!

    Bat Out of Hell,Coliseum, West End. Variety
  • …lighting and sound designers Howard Harrison and Gareth Owen respectively, make ensure it looks and sounds as good as it does.

    Wind in the Willows, Palladium, West End. London Theatre
  • …crystalline clear resonant singing…

    Strictly Ballroom, Toronto. The Globe and Mail
  • Perhaps the highest praise technically on the night must go to Gareth Owen, the production’s sound designer. This show boasts without doubt the best theatre sound I’ve ever heard. Every line of Brooks’ fabulous comic libretto is heard clearly and Andrew Hilton’s fabulous band come across dynamically never over-powering the cast at any time. A fabulous achievement that deserves high praise.

    Young Frankenstein, Garrick, West End. BritishTheatre
  • this may be the best sounding musical ever heard in this country. And it’s not like we’re short of musicals…

    Disney's Little Mermaid Premiere, Groniggen, Holland. The National
  • the sound quality is immaculate

    Top Hat World Premiere, Aldwych, West End. Whats on Stage
  • Credit also must be paid to sound designer Gareth Owen who managed to balance the rock soundtrack and powerful vocals seamlessly.

    Bat Out of Hell World Premiere, Coliseum, West End. North West End
  • The orchestral sound was exquisite.

    Stephen Soundheim's 80th Birthday Party, Drury Lane, West End. The Telegraph
  • Sound designer Gareth Owen also claimed back to back wins, following up 2014’s win in the Best Sound Design category for Merrily We Roll Along with a 2015 win for his work on Memphis The Musical.

    Olivier Awards 2015: First Half Summary, Official London Theatre
  • Director and Musical Supervisor John Maher has ensured that the music remains at the forefront of Let It Be. Together with Sound Designer Gareth Owen, they ensure that every single word and note of Let It Be is delivered with crystal clear clarity.

    Let it Be, Garrick, West End. British Theatre
  • Gareth Owen’s sound design is marvellously clear – this is probably the best sound design I’ve ever encountered in this acoustically challenged space.

    Hunchback of Notre Dame, PaperMill Playhouse, USA. Lighting & Sound America
  • uncannily perfect amplification helps every character pluck a different heartstring.

    Stephen Sondheim's European Premiere of Road Show, Menier, London Time Out
  • Musical director Mark Aspinall and Sound Designer Gareth Owen have seen to it that the company blows us away with walls of powerfully beautiful vocal sound and the sixteen-piece orchestra sounds surprisingly rich and complex.

    Titanic, Princess of Wales, Toronto. Toronto Star
  • Sister Act sounds so astonishingly good I am entirely at a loss for words – and that is a very bad thing for someone who makes their living out of writing…

    Sister Act, UK Tour, Sunday Times
  • Nigel Lilley’s flawless musical direction is helped in no small measure by Gareth Owen’s sound design, which makes every syllable of Fields’ lyrics audible.

    Sweet Charity, Haymarket, West End. Variety
  • To truly define a great Sound Designer, one must look no further than British engineer, Gareth Owen.

    Come From Away, San Diego, USA. Theatre Weekly
  • … wonderful sound …

    The Rocky Horror Show, UK Tour. The Upcoming
  • Happily Gareth Owen’s sound design ensured uniformly good balance throughout because, of course, lyrics are as important in Sondheim as tunes.

    Stephen Sondheim's 80th Birthday Party, Drury Lane. BritishTheatre
  • …and this is, with out a doubt, the best sounding musical theatre show I have ever heard.

    Carousel, Savoy, West End, Sunday Telegraph
  • perfectly gauged amplification means you can enjoy the Menier’s intimacy without the brassier numbers jangling the nerves.

    Merrily We Roll Along, Menier, London, The Independent
  • …Gareth Owen’s spot on Sound Design…

    The Producers, UK Tour, The Times
  • finally, a rock & roll sound for a theatre audience that works on all levels. Clear, punchy and emotive without the excess that so often accompany this genre.

    Flashdance World Premiere, UK Tour, The Times
  • Owen has redefined modern sound design, elevating a stagnant and arrogant art form to previously unobtainable levels of inspired fidelity.

    Disney's Hunchback of Notre Dame, USA, The Times
  • there isn’t a lyric in this lovely revival of A Little Night Music, Stephen Sondheim’s masterpiece, that isn’t crystal clear, filled with nuance.

    A Little Night Music, Walter Kerr, Broadway, The New York Times
  • In the Heights gains immeasurably in sound quality, the cast all mic’d and somehow in perfect sync with the hot and hidden little band under Tom Deering’s musical supervision and Phil Cornwell’s direction.

    In the Heights, London. Whats on Stage
  • Gareth Owen’s ominous sound design almost makes you feel the impact of the iceberg.

    Titanic, Princess of Wales, Toronto. The Globe & Mail
  • Gareth Owen’s Sound Design is an innovation in the West End. You can hear every word.

    La Cage Aux Follies, Playhouse, West End, The West End Whingers
  • The Sound Design of Gareth Owen is extremely impressive.

    GodSpell, UK Tour, The Guardian
  • But the greatest technical credits must be given to the lighting and sound guys, James Whiteside and Gareth Owen… The clarity of the speaking and singing was quite exceptional.

    Footloose, UK Tour, The Times
  • …ballads such as Come to Your Senses and rock-outs like 30/90. When the band are going full-pelt and the cast and sound-man are matching them, this is quite special…

    Tick Tick Boom, Menier Chocolate Factory, The Evening Standard
  • The songs and dialogue came across loud and clear.

    Anything Goes, UK Tour, Daily Echo
Gareth Owen

Sound Designer

London :  + 44  7968 140576

New York :  + 1  (860) 956-5519

Amsterdam :  + 31  6 29 70 70 16

email : gareth@garethowensound.com

Skype : garethowensound

Gareth Owen

Russell Godwin

Associate Sound Designer

London : +44 7736 316951

New York : + 1  (646) 436-9097

email : russ@garethowensound.com

Russell Godwin

Olly Steel

Associate Sound Designer

Phone : +44 7795 233357

email : olly@garethowensound.com

Olly Steel

Andy Green

Associate Sound Designer

Phone : +44 7739 846369

email : green@garethowensound.com

Andy Green

Josh Leibert

Associate Sound Designer

Phone : +1 (607) 227-6012

email : josh@garethowensound.com

Josh Leibert

Ramon van Stee

Associate Sound Designer

Phone : +31 6 11 18 61 04

email : ramon@garethowensound.com

Ramon van Stee

Mike Thacker

Associate Sound Designer

Phone : +44 7973 545460

email : mike@garethowensound.com

Mike Thacker

Dom Bell

Production Engineer

Phone : +44 7867 543093

email : dom@garethowensound.com

Dom Bell

Matt Peploe

Junior Associate Sound Designer

Phone : +44 7765 251744

email : matt@garethowensound.com

Matt Peploe

Mike Ryles

Junior Associate Sound Designer

Phone : +44 7805 338160

email : ryles@garethowensound.com

Mike Ryles

Jamie Hendry

Manager

Gareth is managed in theatre by Jamie Hendry at The Creative House :

Website : www.thecreativehouselondon.com

Phone : +44 20 3475 8810

email : jamie@thecreativehouselondon.com

Jamie Hendry

Callum Runciman

Assistant to the Manager

Gareth is managed in theatre by Jamie Hendry at The Creative House :

Website : www.thecreativehouselondon.com

Phone : +44 20 3475 8810

email : callum@thecreativehouselondon.com

Callum Runciman

 

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