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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

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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

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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

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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

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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

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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


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

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Production: Bluey TV Series

Composer: Joff Bush 

Music Editor: Julian Starr 

Company: ABC Television

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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

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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

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