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As a boy, Jack lived in a world of angels and demons – both visible and invisible – who fed off the bravery and pain of the adults around him. Now grown, his life on the streets of London is less fantastical. But when a ghost from his past turns up, Jack must harness the power of forgotten myths to defeat her.


After the 5 star sell-out success of The Fantasist (top 5 of the Fringe –Sunday Times) Theatre Témoin returns using mask, puppetry, and physical theatre to navigate a dark and imaginative world, inspired by real-life stories of children and adults with experience of homelessness.



Composition & Sound Design:  

My main focus for The Marked was to explore sound design and compositional techniques that are highly emotive and instantly recognisable. This research plays a big part in guiding the audience through Jacks' (the lead character) emotional journeys. I was particularly interested in developing a sonic language that symbolised Jacks' feelings. As a result, the final score is very much a part of the sound design and vice verser. Although the sound design and music are very closely related in the show itself, the two had distinctively different devising approaches. The sound design is completely informed by function, it aims to be understandable and recognisable, where as the music is driven by feeling. The composition process involved elements of improvisation - often achieved with the performer in a particular environment (predominantly in the dark), the aim being that the music performance takes on an interpretive nature - allowing for a phenomenological approach to the story. 

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