Reviews and Critical Acclaim
No End of Blame (2017)
“…also remarkable is Alistair Wallace’s sound design, utilising a meticulous selection of music that takes us to places far away and sublime.”
— Suzie Goes See Reviews
“Alistair Wallace’s sound design is poignant and memorable…”
— Sydney Arts Guide
“You can see there is much to savour, think about and simply enjoy in this splendid production…Sound designer Alistair Wallace mixes various FX and musical elements – gypsy, folk tunes, Bartok and Paganini – in a vividly filmic soundscape and all these elements combine with the eight actors into a sumptuous visual and aural experience.”
— Stage Noise Reviews
“Technical production values are first class with lighting by Fausto Brusamolino and sound by Alistair Wallace.”
— Australian Stage Reviews
The House of Ramon Iglesia (2015)
“[the stage and lighting design] is further assisted by a particularly rousing and apt selection of music by Sound Designer, Alistair Wallace, that keeps the cultural rhythms of the family background pulsing throughout.”
— Kevin Jackson’s Theatre Diary
“Skuse is strongly supported by a wonderful group of creatives in this production… Lighting designer Chris Page and sound designer Alistair Wallace both strongly contribute to atmosphere and time and distance changes…
— Lisa Thatcher Reviews
Platanov (2014)
“…Lighting design by Chris Page and sound by Alistair Wallace are subtle but powerful in effecting atmosphere with a dramatic elegance. The innovative use of chorus and Russian folk songs further enhances the theatrical experience, and this is where most of the performers excel.”
— Suzy Goes See Reviews
Odd Man Out (2017)
“The show has a vigorous energy aided by inventive use of a small chorus of actors, introduced into scenes of otherwise structurally simple dialogue. Sound design by Alistair Wallace is similarly effective in manufacturing a sense of motion and progression, for an urgency that helps us stay captivated.”
— Suzy Goes See Reviews
“Anna Gardiner’s simple setting of a wall of prettily-coloured brain pathways (lighting Christopher Page) is effective as is Alistair Wallace’s subtle sound design.”
— Stage Noise Reviews
“…Also refreshing is the lighting of Christopher Page and the sound design, especially the clicking sounds when Alice signals Ryan, by Alistair Wallace.”
— Sydney Arts Guide
The Block Universe (2016)
“…Equally accomplished is Alistair Wallace’s work on sound that guides us through the play’s complicated timeline with a penetrating sensitivity that accompanies its auditory dynamism.”
— Suzy Goes See Reviews
“…Sound designer Alistair Wallace also contributes to the world of the play with a subtle and impressionistic inner vision of time.”
— Stage Noise Reviews
Jerusalem (2013)
“Backed by walls of corrugated plastic, Tom Bannerman’s set with its rancid carpet, battered chairs, smashed-up television, umpteen bottles and other detritus, instantly evokes the feel and stale smell of the morning after the night before in Rooster’s camp. Jennifer Ham’s costumes, Blake Garner’s lighting and Alistair Wallace’s sound complete the picture.”
— Jo Litson Reviews
“Great set (Tom Bannerman), lighting (Blake Garner) and soundscape (Alistair Wallace), and of-course none of this is possible without the deft directorial debut of Helen Tonkin.”
— Sydney Arts Guide
Ride & Fourplay (2015)
“The production is free of frills, but ambience is beautifully manufactured by its team of designers. Alistair Wallace’s sound and Christopher Page’s lights rarely steal our attention but the mood in the theatre is consistently rich with sentimentality and a gentle electricity, derived from a very sensitive approach to the show’s quiet aesthetics.”