Esa-Pekka Salonen cello concerto 1

“Real-time sound processing was a key element of the central movement. Brief cello lines and glissandos were electronically looped by an offstage sound designer to produce ghostly echoes that mingled with the acoustical sounds.” - Chicago Tribune (on Esa-Pekka Salonen cello concerto)

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The Encounter

"Some of the sounds are created before our eyes by McBurney, playing with objects, voice, body, effects pedals; others are pre-recorded and are fed into the live performance by sound operators Helen Skiera and Ella Wahlström. This aural-physical combination achieves visceral intensities." - The Guardian (on The Encounter)

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Sirenia 1

"The small room is lit by a small bulb and a pair of shuttered windows, while the sound design immerses the audience and evokes the sense of being in a lonely lighthouse perfectly." - British Theatre Guide (on Sirenia)

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Chicken Dust 1

"The short scenes are punctuated with a variety of sound effects created by sound designer Ella Wahlström. These are acoustic variants on a mix of panicky chicken sounds underscored with an industrial roar. Occasionally we hear lorries going by. All combined they create an atmosphere of itchy claustrophobia in which the human story of workers at a chicken farm dramatically unfolds." - Public Review (on Chicken Dust)

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A Study in Scarlet 2

★★★★ "The lighting and sound create the perfect atmosphere" - What’s Peen Seen (on A Study in Scarlet)

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A Study in Scarlet 1

"The atmosphere however is largely provided by lighting and sound score of ticking clocks, strange whistlings and clicking desert insects by Ella Wahlström and music by Annabelle Brown that also helps shape the staging." - British Theatre Guide (on A Study in Scarlet)

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Titus Andronicus

"While the use of music was sometimes erratic, starting and stopping suddenly, sound designer Ella Wahlstrom had moments of extreme success." - Camden Review (on Titus Andronicus)

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The Bunker Trilogy 2

"The sounds of war drum around us in a way that evokes real tension as well as externalising Agamemnon’s psyche." - Exuent (on The Bunker Trilogy)

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The Bunker Trilogy 1

★★★★★ "Every detail rings true, from the billowing smoke of kicked up dust from the ground to the creaking walls as the bombs overhead drop." - The Skinny (on The Bunker Trilogy)

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Revenger's Tragedy

"Hauntingly loud at times, sending a real chill down the spine" - A Younger Theatre (on Revenger’s Tragedy)

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The Capone Trilogy

★★★★ "The actors’ ability to elicit such an emotional reaction combined with the expert set, costume and sound design that so authentically re-imagines 1930s Chicago, make Lucifer another success for Jethro Compton." - The Good Review (on The Capone Trilogy)

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Sirenia 2

★★★★ "And it is certainly atmospheric, with a level of detail in the design and décor of the room that rewards close observation, and a melancholic soundtrack which underpins the action while the storm rages outside." - Public Review (on Sirenia)

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The Ballad of Robin Hood

★★★★ "Sound design by Ella Wahlström sets the scene persuasively for each new story" - Everything Theatre (on The Ballad of Robin Hood)

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Esa-Pekka Salonen cello concerto 2

"Even more alluring are the second movement’s “looping” effects in which tones from the soloist are captured electronically, reconfigured and sent forth anew in an atmospheric stillness. In these fascinating passages one didn’t always know where the music was coming from, but it’s sparse beauty was mesmerizing." - Financial Times (on Esa-Pekka Salonen cello concerto)

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Chicken Dust 2

★★★★ "…acoustic variants on a mix of panicky chicken sounds underscored with an industrial roar. Occasionally we hear lorries going by. All combined they create an atmosphere of itchy claustrophobia..." - Public Review (on Chicken Dust)

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