SOUND DESIGN AND SOLO WORK 

45 BEATS: A SOUNDWALK IN THE DARK

BY ALLY POOLE

COMMISSIONED BY: 

COLAB SOUND EXHIBIT 

FRINGE ARTS BATH 2020 AND "ONCE MORE WITH FEELING" FOR LIVE ARTS DEVELOPMENT AGENCY.

Performer, Writer and Sound Artist

"You are walking in a forest. You decided to take this walk to get away from the city, the noise; the people. You wanted to be alone and here you are."

https://soundcloud.com/allypoolesound/45-beats-a-soundwalk-in-the-dark

45 Beats’ text will be delivered through headphones by an anonymous voice, leading the listener through an unnamed woods, where the listener falls through leaves and is taken through several narrated sensorial worlds. There will also be a series of prompts that the narrator gives the participants that began with simply asking them to say their name out loud and then escalated to the voice commanding them to yell at the top of their lungs until they can’t breathe, pushing the conflict between reality and fiction.

EXQUISITE CORPSE

COLAB SOUND EXHIBIT 

FRINGE ARTS BATH 2020

Sound Artist

https://www.fringeartsbath.co.uk/colab

The first collaboration of the 2020 CoLab Sound artists. For Exquisite Corpse, each artist shares an audio file, who passes it on to the next artist to remix who then passes it on again and so on. 


This video has a few of the remixes I did for the project. Featuring original sounds from: Luba Diduch, Ally Poole, Cyraco Cyborgartcollective, Nadia Berri, Neil Milton, Camilla Nelson, Roy Boswell, Laura and Clause Netz, Andy Newcombe, Sinmiloluwa Oyewale, Marley Treloar and Barry Despenza.

DON'T TALK TO STRANGERS

BY HOT COUSIN

VAULT FESTIVAL 2020

Performer & Sound Designer

What could be more romantic than giving your lover a mix tape? That’s what scientist Carl Sagan thought in 1977 when he compiled his Golden Record on behalf of all humanity and sent it shooting off into space in search of friendship, love and maybe more. Forty-two years later, why haven’t the aliens messaged us back? Is it because our message came across as arrogant, colonial and sexist? ‘Don’t Talk to Strangers’ is a disruptive parody of revisionist history - a story made by men but retold by women; four women on a collision course with our own problematic history. ‘Don’t Talk to Strangers’ is both an intersectional re-evaluation of this ground-breaking musical love letter and a trashy rom-com about us and the aliens.

'...a show that comes with a confident, one eyebrow slightly raised humour, and a structure in which repetition becomes a way of moving forward, making us see and hear differently.' -Lyn Gardner

4 Stars “Experimental theatre at its finest.” -The Spy in the Stalls 

4 Stars- “Funny, touching and hugely

  innovative.”-Everything Theatre 

“Experimental and exhilarating...one of the more fascinating shows at the VAULT Festival.” -Ought to Be Clowns 

ESSENCE

BY SARAH HENLEY

VAULT FESTIVAL 2020

Sound Designer

 A new play by Sarah Henley and directed by Tori Allen-Martin. An odd-couple comedy about loneliness, grief, eccentricity, music & love. 

Reviews

Broadway World UK- "With Ally Poole's sound design, the characters' music tastes overlap and break into each other, creating a sonic palette that heightens the similarity and divergence of the duo."


The 730 Review- "...combine theatrical elements such as...Ally Poole’s superb sound design." 

 

HER LABORIOUS MADNESS

BY ALLY POOLE

MFA THESIS AT ROYAL CENTRAL SCHOOL OF SPEECH AND DRAMA

Writer, Performer and Sound Designer/Composer

Her Laborious Madness is a one-woman performance that adapts the Borges’ short story through my lens of being a Black American woman in the 21st century. In my piece, the character is a writer who is about to become a victim of police brutality when she asks God for more time to finish her work. She receives the time that she asked for but instead of being frozen in the moment before her death, she is transported to “the Earth’s Quietest Room” where she will spend the next year attempting to finish her novel. The room is so quiet that you can hear the blood running through your veins and after a time, the silence becomes a high-pitched drone. The piece is the character’s journey to completing her final work and also the decent into madness that happens to her due to being trapped in a sound amplifying room; the ultimate price of “be careful what you wish for.” The work is presented through headphones.

A TINGLE IN THE PLUMBING: FOUR STORIES OF LOVE AND WORK

BY ASHER DRESNER

CAMDEN FRINGE 2019

Sound Designer

This was a production that performed at the 2019 Camden Fringe. Directed by Stephanie Fuller, the sound design was composed of playful beats, including a space/rave, to reflect the various characters played in this four monologued one-woman show.

SHE SELLS SEA SHELLS

BY HELEN EASTMAN,

SCANDAL AND GALLOWS THEATRE

EDINBURGH FRINGE 2019

Sound Designer

This three-hander included a sound design that required a severe storm, a 18th century waltz and a vaudevillian presentation. Directed by Madeleine Skipsey, She Sells Sea Shells, ran the entire length of Fringe, sold out on many days and received several 5 and 4 star reviews.

MADNESS/REVERIE

BY ALLY POOLE

SCENOGRAPHY PROJECT, ROYAL CENTRAL SCHOOL OF SPEECH AND DRAMA

Performer and Sound Designer/Composer

A piece of headphone theatre interrogating-what it is like to hear someone else’s thoughts in your ear? And as an artist, what are you willing to share with an audience? The idea of who’s mind does the piece belong to shaped what I made for this assignment; and also, the imagery of being forced to listen to someone else’s either decline or total lack of sanity. I really wanted to play with the concept of sanity and also wanted to fuse poetry and song lyrics together to create this kind of disturbingly beautiful decline.
I started by taking a poem that I really love by Sylvia Plath- “Mad Girl’s Love Song” because there’s this recurring line “I think I made you up inside my head,” that I thought would be really impactful to hear through the headphones especially in the context of my piece. Then I took the lyrics to Gnarls Barkley’s “Crazy” and recorded both of these pieces togetherthrough the sound recorder because I really like the sort of dissonance the recorder picks up. I put the recording together in a way that I really like, played with the speed of the recording and re-recorded the readings in lower voices, layered the recordings and then backtracked it with a Debussy piece, “Reverie,” because of its dream-like quality.

THE RESTRICTED SECTION

BY ALLY POOLE

SCENOGRAPHY PROJECT, ROYAL CENTRAL SCHOOL OF SPEECH AND DRAMA

Writer, Performer and Sound Designer/Composer

The banning of books in schools and other institutions is a common occurrence. This performance was a commentary on the banning of literature, questioning the role book banning has in society and what happens when the access to literature is restricted. Frequently banned books were portrayed as prisoners and then “locked” in the Archives to symbolize their placement in a societal solitary confinement.


The work was a one-woman performance in which I portrayed The Librarian, who gave the audience a tour of the Swiss Cottage Library while playing the role of judge, jury and ultimately incarcerator of banned books. The Librarian began the tour at a display of popular books and asked each audience member to raise their hands if they had read any or all of the books. The Librarian then explained that those books had been banned and took the audience on a "special tour." The tour led the audience down to the basement archives of the library and culminated with moment piece/dance of the Librarian locking up the books, while the books spoke (via voiceover) lines of text that illustrated why they had been banned. The audience was then able to walk through the archives and explore the banned books and question why they were banned, if they should have been banned, and discuss amongst themselves the topic.

 

©2019 by Ally Poole. Proudly created with Wix.com