Sound Designer
Press
Lady Macbeth Uncut | Drayton Arms Theatre
"Sound designer Anna Short modulates a wonderfully unsettling sequence of stormy ocean waves, tolling bells, creaking doors, and eerie music." - Phoebe Taplin, The Reviews Hub
Lady Dealer | Roundabout / Bush Theatre
“She hopes for a dealer’s groundhog day – wake, sell, repeat – to dull the sting of her breakup with a “trust fund darling”. Yet the rhapsodic swim of rolling sound and coloured lights in Emily Aboud’s production keep cutting out, plunging back into greyscale.” - David Jays, The Guardian
“Anna Short’s sound design shows an understanding of just how strong a silence can be – where the voiceovers are kept in perfect balance, neither too loud to be a real conversation nor too quiet to potentially be drowned out by a fellow viewer’s timing of a gulp or rustling, those silences are where the real power of the show comes to life.” - Sam Waite, All That Dazzles
“She does get a range of subtle assistance, however. The sound design by Anna Short creates a naturalistic soundscape and provides characterful voice-overs, gives a shot or two of Beastie Boy rap samples, and segues seamlessly into more abstract, less comfortable territory as Charly’s world disintegrates.” - Chris Lilly, The Reviews Hub
“Emily Aboud’s direction is dynamic and well matched to Davies’ frenetic performance style. The environment she plays in is co-curated by Araujo’s formidable set built out of speakers, plugs, and extension cords and the complimentary sound design by Anna Short that pumps things along. The collaboration is compelling, and Davies’ performance is effortful, efficacious, and endearing.” - Kira Daniels, North West End
“Emily Aboud’s direction is clean and focused, using sound and light to complement the acting in the in-the-round space.” - Simon Thompson, WhatsOnStage
Pansexual Pregnant Piracy | Soho Theatre
“…it is in the realm of sound that this show really stuns. Designer Anna Short seamlessly blends audio cues with live a acapella singing from the cast that perfectly complements Erin Rydal and Simon McKenzie’s orchestration and musical direction." - Kira Daniels, North West End
“Even though the music (orchestrated and directed by Erin Rydal and Simon McKenzie) is prerecorded, there are no issues, thanks to the sound design by Anna Short.” - Kat Mokrynski, Broadway World
‘The Beautiful Future is Coming’ | Jermyn Street Theatre
“Anna Short's sound design adds a further layer to the world of the show, eerie and unsettling.” - Katie Kirkpatrick, Broadway World
“The direction (Harry Tennison) of disparate characters and tales simultaneously on stage is beautifully seamless, moving from one story to another, sometimes with interleaved dialogue, and moving fluidly around the stage. Excellent lighting and sound design certainly aided this flow.” - Mariam Mathew, London Pub Theatres
“…with deft directions and movement enhanced in Neil Golledge’s pinpoint lighting and often thundrous downpour of Anna Short’s sound.” - Simon Jenner, Fringe Review
The Last One | Arcola Theatre
“I loved the use of sound and lighting throughout, which veered from a bright and breezy summer’s day to the dark and stormy days. The brilliant use of both sound and lighting helped in tying up the message regarding climate change,” - Bronagh, Theatre & Tonic
The Wizard of Oz | Watermill Theatre
“…Dot is transported from her monotone world to a mysterious, highly colourful land beautifully realised in Sophie Pardon’s spectacular set and costume design, enhanced by Ali Hunter’s imaginative lighting and Anna Short’s creative sound.” - Robin Strapp, British Theatre Guide
Candy | Park Theatre
“A low-key sound design by Anna Short, prominently featuring original music by Stephen Waller, helps to provide context for the events and locations Will describes in passing, with realistic ambient noise and snatches of romcoms playing in the background. A soft, warm-toned piano tinkles away, providing a score of lounge music that builds in volume whenever Candy is mentioned, helping the unseen character to feel as present and as powerful for the audience as she is in Will’s romantic fantasies.” - Dave Fargnoli, The Stage
“Thanks to Anna Short’s sound design, the original music by Stephen Waller and sound effects are never a distraction in themselves and complement the narrative beautifully.” - Raphael Kohn, All That Dazzles
“The sound was subtle and added a lot of atmosphere in just the right places.” - Richard Lambert, Theatre Reviews for Design
Get Happy | Pleasance Theatre
"This is a vey well put together show...helped by some of the most consistently tight lighting (Jonathan Chan) and sound (Anna Short, Annie May Fletcher) cues I think I have ever seen in a show, and are all deftly harnessed by director Piers Black to help lift this production far beyond the confines of the compact stage.” - Simon J Webb, Jack The Lad
Don’t Smoke in Bed | VAULT
“Anna Short’s sound design builds tension well” - Amy Rye, Lost in Theatreland
Ravenscourt | Hampstead Theatre
“All of this is supported by capable lighting design from Matt Haskins and sound design from Anna Short each subtly effective in the transition between scenes.” - Henry Longstaff, London Theatre Reviews
I Know I Know I Know | Southwark Playhouse
“This is astute, impressive writing, with thoughtful staging, confident performances, and delicate, rumbling sound design underlining the sharpest moments of horror and gut-punch grief.” - Kate Wyver, The Guardian
The Straw Chair | Finborough Theatre
“…the staging is made rich through understated, evocative lighting from Jonathan Chan and Anna Short’s expressive sound design.” - Mary Pollard, Everything Theatre
“There is considerable beauty in this simply staged show, where sensitive lighting and sound effects successfully convey atmosphere.” - Jenny Booth, Time and Leisure
“This is an intense piece in which the whistle of the wind and the roar of the sea is relentless (sound design by Anna Short).” - Louise Penn, LouReviews
“Anna Short’s sound design is excellent too – we hear waves crashing on the shore below, and the island rings with human voices, [Rory] Hawthorn herself directing and performing the play’s haunting gaelic psalms and songs.” - Jane Darcy, The Reviews Hub
“The Straw Chair needs a strong sense of place, which it gets largely from Anna Short's sound design, all gulls and wind.” - Gary Naylor, Broadway World
“The sound effects conjure up the sounds of the sea while the Gaelic songs (Rori Hawthorn) are both beautiful and somewhat haunting. The near bareness of the stage enhances the unwelcoming island that both Isabel and Lady Grange have been cast upon.” - Close Up Culture
“Finborough’s stage is managed well, given the very intimate space, and with the help of the lighting and sound design, audiences can easily picture the Outer Hebrides in the 18th century.” - Selina Begum, The Upcoming
FOUND | Multimedia Project by 45North
“The sound design by Anna Short was excellent, especially the ambient noises that built the atmosphere. Coupled with illustrations by Katie Gabriel Allen, the design elements of FOUND are detailed and well thought out. Clearly a lot of hard work and dedication has gone into the piece.” – Bethany-Jane Christian, Theatre Weekly
“Each entry is accompanied by a photo or two that give the story a sense of location, helped, too, by Anna Short’s discreet sound design.” – Richard Maguire, The Reviews Hub
“Another way that I am eased into this new theatre experience is by the sound design and illustrations by Anna Short and Katie Gabriel Allen, respectively.” – Julie Renata, London Theatre Reviews
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