PRESS
2023
PRODUCTION
Production: Union
Director: Wiebke Green
Theatre: Arcola Theatre
Atmosphere is created largely through Julian Starr’s sound design and Martha Godfrey’s lighting, both of which are robust, leading to an experience that is worthy of a recommendation.
Michael Higgs, The Upcoming
An understanding of tone and the balance of emotions also shows in the work of sound designer Julian Starr. Also providing original compositions, Starr has selected songs and musical pieces to represent the moments and the places Saskia enters. Catchy but monotonous elevator music fills a local corner shop, while classic pop fills her ears when beginning her defiant run. The original score is haunting in places, melancholy in others, and matches beautifully with the emotion-led lighting. Combined, the light and sound in this production become so essential that it’s hard to imagine the piece carrying the same power without them.
Sam Waite, All That Dazzle
Composer and sound designer Julian Starr insinuates a gently pointillistic score, sussed as Saskia, rippling like the canal.
Simon Jenner, Fringe Review
Production: Miss Peony
Director: Courtney Stewart
Theatre: Belvoir St Theatre/Australia National Tour
Julian Starr’s sound design evokes complex notions of time and space, especially with its use of pop music from pre-1997 Hong Kong.
Suzy Wrong, Suzy Goes See
Production: Song From Far Away
Director: Kirk Jameson
Theatre: Hampstead Theatre
Julian Starr does his usual fine job on a thoroughly evocative soundscape.
BottomLine, London Theatre Reviews
Julian Starr’s sound design lets Willem’s words be heard as clearly as they are meant, with every tremble or infliction used for maximum impact.
Daz Gale, All That Dazzle
Julian Starr has created motifs on the piano underscored with shimmering strings that repeat with variations that reflect Willem’s mindset.
Richard Beck, BroadwayBaby
Production: Rose
Director: Scott Le Crass
Theatre: Ambassadors Theatre West End
Julian Starr’s shrewd sound design gently hints at events Rose describes without ever being intrusive
John Cutler, The Reviews Hub
gentle soundscape offered by Julian Starr all lend themselves to nurturing the shadows of Rose’s past
Gareth Carr, Whatsonstage
Similarly the sound design by Julian Starr is also very clever, it is there in the background, often raising the hairs on your arm with its haunting sounds, but never does it detract from the performance and on some occasions it disappears and the lack of sound becomes as powerful.
Kat Fuller, Box Office Radio
Julian Starr soundtracks the piece with a delicate, sombre score of melodic piano and stately, throbbing strings. Crackly fragments of ambient sound occasionally swell beneath Lipman's words, illustrating particularly vivid memories, from the tinny fairground music drifting over the Atlantic City boardwalk to the folk song played on a creaky accordion by a refugee bound for Palestine.
Dave Fargnoli, The Stage
This subtle, suggestive approach is borne out in a delicately understated sound design by Juian Starr. What a joy it is to have sounds in the background, at times almost imperceptible, that pay homage to the actor’s role and the supremacy of the text as opposed to drowning both out. Starr aligns his soundscape with events in the story, but again the low level of volume reinforces the idea of past happenings that are distant memories.
Richard Beck, BroadwayBaby
Production: Animal
Director: Bronagh Lagan
Theatre: Park Theatre, Hope Mill Theatre, Tobacco Factory Theatre
Gregor Donnelly's set design is enhanced by Matt Powell's videography, which transports the action and eases the scene changes alongside Derek Anderson's lights and Julian Starr's sound.
Cindy Marcolina, BroadwayWorld
Bronagh Lagan's lucid production certainly isn't short on visual flair. Gregor Donnelly's apartment set neatly incorporates projections (designed by Matt Powell) showing various texts and Grindr interactions, while Julian Starr's soundscape injects some invigorating bursts of techno.
Theo Bosanquet, WhatsonStage
Production: Song From Far Away
Director: Kirk Jameson
Starring: Will Young
Theatre: HOME Manchester
The subtle sound design Julian Starr effortlessly transports the audience from airport departure lounges to canalside bars.
Peter Ruddick, Theatre Reviews North
The creative team are designer – Ingrid Hu, lighting - Jane Lalljee, sound – Julian Starr, musical supervisor – Paul Schofield, whose work fluidly combines to complete this piece of art.
Karen Ryder, Manchester Theatre
a beautifully composed production
Matt Barton, WhatsonStage
Production: Journey to Venice
Director: Wiebke Green
Theatre: Finborough Theatre
Julian Starr is another creative who rarely disappoints and his sound design (including a host of unseen cats) is right on the money.
John Chapman, 2nd From Bottom
2022
PRODUCTION
Production: Harry's Christmas
Director: Scott Le Crass
Theatre: Kings Head Theatre
Thanks to sound designer Julian Starr, the music in the background charts his downfall exquisitely, moving from chart-topping seasonal hits to off-tempo carols, and finally descending into a low, tuneless drone.
Emily Jupp, The Stage
At this point the mood effects created throughout the play by the lighting and Julian Starr's soundscape really come into their own, heightening the inner gloom into which Harry is descending.
Gareth Williams, BroadwayBaby
Production: The Moors
Director: Phil Bartlett
Theatre: Hope Theatre
Julian Starr’s sound design brings sometimes eerie, sometimes schlocky melodrama with screeching violins and organ music.
Arifa Akbar, The Guardian
Props to sound design and composer extraordinaire Julian Starr because this track slaps
Livvy Perrett, West End Best Friend
Julian Starr’s sound design are effectively creepy and remain on the right side of intrusive.
Julia Rank, The Stage
The company establish an unsettling feeling from the get-go with Julian Starr's creepy sound design. His organ extravaganza is the ideal fit for the haunted mansion vibe
Cindy Marcolina, BroadwayWorld
Production: Rose
Director: Scott Le Crass
Starring: Dame Maureen Lipman
Theatre: Park Theatre and Hope Mill Theatre
The same for Julian Starr's haunting sound score, although nothing is as powerful as the wrapt silence in the room as the audience hangs on Rose's every word
Alun Hood, WhatsOnStage
With its minimal set and perfectly placed subtle sound effects, Lipman is our main focus. The marching of soldiers or the noise of a bustling station platform drift in on waves as the memories float in and out of focus.
Simone Green, Everything Theatre
Julian Starr’s simple soundscapes help to sketch the outlines of Rose’s life stories, such as the far-off cheering of crowds gathered to watch a Miss America pageant, in a particularly surreal recollection of Rose’s attempt to become possessed by the spirit of Yussell, her dead lover.
Rachel Wood, A Youngish Perspective
Production: The Woman Who Amuses Herself
Director: Kate Bannister
Theatre: Jack Studio Theatre
Julian Starr’s sound design adds additional historical layering to the non-linear structure, providing clear breaks between scenes, settings and characters. The sound brings the eras to life, allowing for differentiation within the piece itself that keeps us on our toes about what may come next.
Katerina Partolina Schwartz, BroadwayBaby
In director Kate Bannister’s clear and pacey production, the audience always knows where it is with atmosphere and place enhanced by composition from Julian Starr
Sandra Giorgetti, British Theatre Guide
the background world has been neatly conjured up by sound designer Julian Starr.
William Russell, Reviewsgate
Production: The Dwarfs
Director: Harry Burton
Theatre: The White Bear Theatre
‘Scene changes’ from one room to another elide effortlessly, thanks to evocative music from sound designer and composer Julian Starr.
Sandra Giorgetti, Jewish Renaissance
Set in a dingy bedsit (with brilliant sound design by Julian Starr)
Gary Naylor, BroadwayWorld
Here a quick word about the soundscape (by Julian Starr) as this was very helpful in adding a chilling dimension to the above-mentioned night terror. The musical numbers were also well chosen and added to the enjoyment of the play.
Heather Jeffrey, London Pub Theatre
Production: Blue
Director: Lily McLeish
Podcast: The Fizzy Sherbet Podcast
combined with Caridad Svich’s rhythmic language and Julian Starr’s sound design, makes it easy to imagine limbs steadily powering through water.
Rachel Kent, Reviews Hub
In the case of Fizzy Sherbet, the play becomes a purely aural experience, with soundscapes and voice manipulation by sound designer Julian Starr creating an incredible, immersive experience – even without the visuals.
Lizzie McAllister, Hackney Citizen
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Production: Never Not Once
Director: Katharine Farmer
Theatre: Park Theatre
The performances are enhanced by Roisin Martindale‘s carefully chosen costumes and set design and by Julian Starr’s sound composition that supports and contributes to the various moods.
Mel Evans, BroadwayBaby
Production: Kindred Spirits
Director: Kate Bannister
Theatre: Jack Studio Theatre
Julian Starr's sound design adding wonderful atmosphere, especially in the film noir pastiches
Mel Evans, Fairy Powered Productions
Excellent music by Composer/Sound Designer Julian Starr helped to make this theme palpable.
Beth Keen, Stage Whispers
2021
PRODUCTION
Production: Late Night Staring At High Res Pixels
Director: Lily McLeish
Theatre: Aegis Productions and Finborough Theatre
Julian Starr’s score is hypnotic and creates dreaminess, but also unease, so that we anticipate an outbreak of violence that never comes.
Arifa Akbar, The Guardian
Production: Elektra/Orestes
Director: Heather Fairbairn
Theatre: Metro Arts Brisbane
The music accompanying the play is an important part of it throughout. To start with, all goes dark - a premonition of darker things to come? The music thunders. At times, it was loud enough to feel a little uncomfortable. But it certainly allowed for anticipation and some foreboding. Julian Starr is responsible for sound design and music.
Marina Marangos, Weeekend Notes
Even without knowledge of this structure, there is much anticipation during the required mid-show choreographed set reconstruction, which is only enhanced by Julian Starr’s vivid, atmospheric sound design fevering forebodingly to crescendo.
Blue Curtains, Meredith
Sound design and composition by Julian Starr is truly foreboding and inventive; from bleak, blared horns to crackling electronic transition pieces and sonic jump scares. With big scores to settle and some dark twists along the way, the wheels of tragedy are set firmly into motion.
Theatre Haus, Oliver Gough
Production: Hyperdream
Director: Adriane Daff, Mikala Westall
Theatre: Old Fitz Theatre
Julian Star’s sound designs and compositions elevate the emotional gravity of the story.
Sydney Morning Herald, Cassie Tongue
Buoyed by the adventurous musical stylings of Julian Starr, we all get caught up in an undefinable space, half lucid and half catatonic.
Suzy Goes Sees, Suzy Wrong
Production: Return to the Dirt
Director: Lee Lewis
Theatre: Queensland Theatre Company
Credit should go to Julian Starr, whose sound design sparked just the right tone.
ArtsHub, Gillian Wills
Julian Starr complement the way the production balances seriousness and levity.
The Saturday Paper, Yen Long-Wong
2020
PRODUCTION
Production: Scrounger
Director: Lily McLeish
Theatre: Finborough Theatre
Leigh Quinn dextrously performs multiple characters in Scrounger’s tale, sometimes acting them out, other times mimicking them, alongside a toolbox of sound effects.
The Guardian, Arifa Akbar
Sound designer Julian Starr ensure that the 100 minutes has a spikey, surreal Kafkaesque quality.
Lyn Gardner
Julian Starr’s impressively inventive sound design makes it all the more engaging.
The Stage, JN Benjamin
Julian Starr's sound design accentuates the precise script, highlighting the tonal shifts and animating the atmosphere. The background music turns into a soundtrack to dark situational comedy followed by loud silences
BroadwayWorld, Cindy Marcolina
The well stitched-together soundtrack (designed by Julian Starr), which combines genres from soothing classical tunes to funky jingles.
Exeunt Magazine, Simon Gwynn
Production: Killing It
Director: Lily McLeish
Theatre: Vaults Festival
Like a dark cloud, Julian Starr’s sound design sweeps over and envelops the play. At times the rumbling underscore seems to press sadness on us, but it helps us confront this ahead of the characters.
The Plays The Thing, Evangeline Cullingworth
At the same time, the wash of Julian Starr’s evocative soundscape hints at the ebb and flow of that grief, how its weight is always there even if it isn’t felt so keenly from time to time.
There Ought To Be Clowns, Ian
creating believable environments that complement the characters of the women and their interactions, helped by Anthony Doran’s lighting and Julian Starr’s sound.
The Spy In The Stalls, Katre
Production: Bluey TV Series
Composer: Joff Bush
Music Editor: Julian Starr
Company: ABC Television
2019
and Past Selected Projects
Production: ZOG
Director: Mike Shepherd
Theatre: UK Tour/ West End
Production: Cry Havoc
Director: Pamela Schermann
Theatre: Park Theatre
gorgeous sound design by Julian Starr masks the transitions, enabling the flow. The sound also helps subtly drive the undertones of the piece.
The LGBTQ Arts, Kirsty Blewett
Assisting in that department is a sensuous and mystical sound design from Julian Starr
BroadwayBaby, Richard Beck
Production: Alice In Slasherland
Director: Rachel Kerry
Theatre: Old Fitz Theatre
Julian Starr has smashed it out of the park with the sound design, music reverberating through the crowd - encouraging us to whoop and holler through fight scenes
Flick City, Felicity Anderson
Production: The Wind Of Heaven
Director: Will Maynard
Theatre: The Finborough Theatre
the haunting music (the spirit-filled wind of heaven of the play’s title) composed by Julian Starr and Rhiannon Drake – herald angels or the sound of a blessed community opening its hearts and minds
The Reviews Hub, David Guest
sound design and direction by Julian Starr and Rhiannon Drake, respectively, enhance the mood and the story wonderfully.
London Pub Theatres, Saul Reichlin
Julian Starr scores another triumph as sound designer, greeting the audience with ethereal strings that edgily suggest events are about to take a turn. His bell sound marks the passage of time from morning to early evening the next day as well as the rising tension in the life of Ambrose.
BroadwayBaby, Richard Beck
Production: Othello
Director: Phil Willmott
Theatre: Union Theatre
Julian Starr’s delicate sound design heightens the production’s sensuousness even further.
The Stage, Julia Rank
beautiful sound design by Julian Starr
The Upcoming, Michael Higgs
Production: Gulliver Returns
Director: Dan Coleman
Theatre: UK Tour/ UnderBelly Edinburgh Fringe
Julian Starr’s delicate sound design heightens the production’s sensuousness even further.
The Edinburgh List, Alistair Maxwell
