I engage in a collaborative method of sound-design and composition, creating soundscapes live in the rehearsal room, reacting to directorial and actor choices. I believe sound design is a highly under-utilised creative tool, and is hugely impactful in creating atmosphere. I am extremely proficient in both Logic Pro X and Q Lab, and play cello, piano, and sing to a high quality. Below are just a few of my highlights.
BODY PARTS
By Iola King Alleyne, Directed by Iola King Alleyne and Madeleine Morgan, Sound Design by James Hattan
University of Bristol June 2026, Edinburgh Fringe August 2026
Body Parts Theme
I created an entirely original score for this experimental new play about aging and desire.
24 WEEKS
Produced by Tatty Pants Theatre Company, by Laura Walker, Directed by Isabelle Cory, with music from Maia Harding and Sound Design by James Hattan
Edinburgh Fringe, August 2025
This production was nominated for the LIST festival Sit-Up Award.
My work included devising and designing a pre-show narrative in an imagined future UK in which abortion is illegal. You can hear this below:
‘jarring soundtrack… adds to the tension’ Lothian Life
‘effectively uses audio and multimedia to set the context of this world’ The Student
‘an unsettling soundtrack close[s] in on you..’ EdFest Reviews
MACBETH
Produced by Interact, By William Shakespeare, Directed and Sound Designed by James Hattan
Wickham Theatre, University of Bristol, February 2026
I used continuous sound design to represent Macbeth’s troubled mental state. Several soundscapes took place in complete darkness, one of which can be heard below.
‘the sound design… is the production’s strongest asset, and fuels the psychological terror’ Epigram
