Music & Composition
Over the past few years, I have provided musical compositions for a wide range of projects spanning across a variety of mediums (e.g. short films, theatre). This work was spurred on by a lifelong passion for music, having written songs and played various instruments throughout my schooling years. My inspirations and practices as a composer tend to vary based on the project I’m working on: For scores and instrumental work, I’m particularly interested in combining textures to form unique and detailed soundscapes. When writing songs, I focus on progression and momentum, as well as writing lyrics that are vivid in their storytelling and, occasionally, dryly comedic. My credits include the award-winning short film ‘Bare Bones’ (2021, dir. Yarno Rohling), the musical ‘Everynight’ (2022, dir. Oliver Durbidge) and the song cycle ‘We Have Stolen Our Bodies From God’ (2025), which was written for Shopfront Arts Co-op’s emerging artist residency program, ArtsLab. Additionally, I performed as a musician in New Theatre’s production of ‘One Man, Two Guvnors’ (2023, dir. Angus Evans), and currently play guitar and bass in Sydney band Finding Better Health.
Composition / Music
2020 - Present
Sound Design
2019 - Present
While studying my bachelor’s degree, I was heavily involved with Sydney University Dramatic Society (SUDS) in various roles. During this time, I began taking an active interest in sound for theatre, and served as a Sound Designer for multiple shows. Since graduating, I have gone on to provide sound design for numerous productions in esteemed theatres across Sydney, including ‘Selkie’ at the Old Fitz (2025, dir. Kurtis Laing) and ‘Wife’ at the New Theatre (2024, dir. Darrin Redgate). I also work in a similar capacity within the audio field, having recently recorded, edited and designed sound for Milk Crate Theatre’s podcast ‘The New Stigma’ (2024).
Theatre Technician / Operator
2019 - Present
In addition to my design experience, I have also operated and helped to set up various technical elements for theatrical productions. In 2024, I operated sound and lights for productions at the New Theatre (‘Ink’, dir. Louise Fischer) and the Sydney Acting Studio (‘My Name Is Rachel Corrie’, dir. Serhat Caradee). In 2025, I started working as a deputy tech at Australian Theatre for Young People (ATYP), and provided live sound mixing for the Currency Press Festival of Playwrights, which the theatre hosted in August of that year.