Categorie: Theater

Premiere 28 september 2024

In this production of Antigone, I explored the inner worlds of the characters through layered soundscapes, blending modern electronic elements with deep emotional resonance. The Radiohead song “Everything in Its Right Place” served as a thematic backbone throughout the sound design. The repetitive, haunting tones of the song echoed the characters’ emotional turmoil and desire for control. I built techno-inspired soundscapes that evolve and intensify, reflecting the rising tension in the story. At one moment, one of the actors performes a raw, stripped-down version of the song, singing over a minimal soundscape.

For Antigone’s dance scene, I introduced an overproduced electronic version of “Unholy” by Sam Smith and “You Should See Me in a Crown” by Billie Eilish. The distorted, overblown energy of these tracks mirrored the extreme emotions and defiance within Antigone, creating a powerful contrast between her internal rebellion and the external forces that seek to control her. This fusion of overproduced electronic music and layered soundscapes brings a modern, visceral edge to the tragedy.

Director Nina Spijkers
Translation Bo Tarenskeen
Dramaturgy Remco van Rijn
Scenography Dennis Vanderbroeck
Music and Sound design George Dhauw
costume design Esmee Thomassen
Lightdesign Tim van t Hof

With Yela de Koning, Mark Rietman, Emma Buysse, Sander Plukaard, Betty Schuurman, Ṣayọ Cadmus, Mike Zanting

In House of Troy, my sound design supports the emotional intensity of the narrative through a minimalist approach. A subtle ticking clock is present throughout the performance, maintaining a consistent tone. As we move backward in time, particularly after the fall of Troy, transition sounds gradually become more muted, while the soundscapes grow more harmonious. These shifts mirror the emotional depth of the story. At key moments, sharp, unsettling sounds accompany blackouts and flashing lights, evoking extreme violence and suffering, intensifying the audience’s experience.

Director Mateusz Staniak
Adaptation Laura De Geest, Mateusz Staniak
Dramaturgy Johan Reyniers
Scenography Zaza Dupont
Geluidsontwerp George Dhauw
Kostuumontwerp Wojciech Dziedzic

With Nadia Amin/Charlie Chan Dagelet, Yaqien Bouhbaka, Elsie de Brauw, Laura De Geest, Mona Lahousse, Carlo Paardenkooper

In Don Juan – Am Ende aller Tage, I not only crafted the sound design but also performed live guitar on stage, bringing an intense, raw energy to the production. The show features live songs of Joy Division’s “Days of the Lord,” Pixies’ “In Heaven,” and Iggy Pop’s “Lust for Life.” These iconic tracks are woven into the narrative, punctuated by haunting, apocalyptic underscores and harsh guitar solos that serve as intermissions between scenes.

My sound design, with its blend of live performance and digital elements, creates an immersive atmosphere that underscores the characters’ struggles with personal freedom in a crumbling society. The music amplifies the tension and drives the narrative forward, giving voice to the chaotic world of Don Juan.

Director: Mateusz Staniak
scenography & Light: Zaza Dupont
Costume design: Kevin Pieterse
Music & sound- design: George Dhauw

With: Danai Chatzipetrou, George Dhauw, Dominik Dos-Reis, Victor IJdens, Michael Lippold

Link to theatre website >>

For this production, based on the award-winning novel by Lucas Rijneveld, I drew inspiration from the Dutch winter landscape and the distinct sound of Protestant psalms from the northern Netherlands. I used a recorder/block flute to record these psalms, which formed part of the soundscore. These traditional sounds were then transformed into more abstract soundscapes, underscoring the cold, introspective atmosphere of the piece. This blend of natural and spiritual elements complemented the emotional depth of the story and the minimalist set design.

Director: Nina Spijkers
Book: Lucas Rijneveld
Adaptation: Jibbe Willems
Set Design: Studio Dennis Vanderbroeck
Music and Sound Design: George Dhauw
Light Design: Tim van t Hof

For this production, based on the true story of Sex Pistols legend Sid Vicious. I used heavily distorted guitar sounds to create the soundscore, amplifying the play’s chaotic and rebellious energy. The performance opens with the actor portraying Sid Vicious performing “My Way,” setting the tone for the raw, experimental nature of the piece. The soundscape blends seamlessly with the visual design, contributing to an immersive experience that blurs the line between reality, film, and a hallucinatory trip.

director Mateusz Staniak
text De Hamletmachine (Heiner Müller) and other texts
performance Laura de Geest, Pepijn Korfage, Robin Zaza Launspach, Arne Luiting
dramaturgy Debbie Oskam
scenography Zaza Dupont
music and sound design George Dhauw
light design Mateusz Staniak, Zaza Dupont
costumes Wojciech Dziedzic

Gecombineerd met de dreigende experimentele soundscape van George Dhauw komen er shots voorbij die soms doen denken aan een film als Trainspotting. 

Volkskrant

Door de sterke visuele (ontwerp: Zaza Dupont) en auditieve taal (muziek en geluidsontwerp van George Dhauw) lijkt de grens tussen realiteit, film en trip steeds meer te vervagen. 

Theaterkrant

Director Mateusz Staniak
choreographer Adam Peterson
Music & Sound Design George Dhauw

For Mijn Lieve Gunsteling, based on the novel by Marieke Lucas Rijneveld, I composed and designed the music and soundscape in collaboration with director Ivo van Hove. The production features two variations of an original musical theme (Fantasy 1 & 2), as well as a recurring theme drawn from Vivaldi’s Four Seasons: Summer, where I looped sections of violins to create dynamic shifts, from calm to wild, reflecting the emotional intensity of the story.

Additionally, we collaborated with Wende Snijders, who composed two original songs, including the final piece, to end the play on a high note with a high-quality pop song. Live music performed by Roos van Tuil, alongside vocal performances Eefje Paddenburg, completed the production.

Two variations on a music theme used in this production. Fantasy 1 & 2:

based on the book by Marieke Lucas Rijneveld
direction and adaptation Ivo van Hove
accompaniment adaptation and dramaturgical advice Bart Van den Eynde
scenography and lighting design Jan Versweyveld
music and sound design George Dhauw
costumes An D’Huys
song lyrics Marieke Lucas Rijneveld
composition of 2 original songs Wende Snijders
video design Christopher Ash

cast Hans Kesting, Eefje Paddenburg, Katelijne Damen, Bart Slegers, Achraf Koutet
musician Roos van Tuil

‘You are swept away by the soundtrack of her growing up, as musical as the performance is with accompaniment from Roos van Tuil, the singing Kesting and triumphant super-talent Paddenburg.’

Het Parool

For this emotionally charged production, I crafted a soundscape that moves seamlessly between haunting electronic choir sounds and iconic tracks like Celine Dion’s My Heart Will Go On. The music sets the tone for each section of the performance, alternating between intense thumping beats and subtle, atmospheric compositions. The sound design closely follows the inner world of the actor, adding an alienated atmosphere that deepens the impact of the performance.

Director, Adaptor & Translator Ivo van Hove
From the book by Édouard Louis
Set and Lighting Designer Jan Versweyveld
Costume Designer An D’Huys 
Composer George Dhauw

With Hans Kesting

Over the sound of a ghostly electronic choir, Kesting begins the show embodying both the troubled Louis and his dad: the wheezing, ruined physical wreck of the present and the imposing figure of Louis’s childhood, who punched holes in the walls to stop himself punching his family.

Time out

 George Dhauw’s eclectic soundscape – thumping beats one moment, Celine Dion the next – effectively sets the tone for each section.

The arts desk

Designer Jan Versweyveld uses many exquisite theatrical methods to convey the emotion of the text, some beautiful smoke and lighting effects truly help in heightening moments of already intense emotion. This is further aided by George Dhauw’s sound design/composition, which is both subtle and extremely powerful all at once, complimenting the profound performance wonderfully.

https://www.westendbestfriend.co.uk

Director Mateusz Staniak
choreographer Adam Peterson
Music & Sound Design George Dhauw

The score for La Ménagerie de Verre includes an eclectic mix of music classics, such as the Andrew Sisters’ Rum and Coca Cola, Astor Piazzolla’s Libertango, Charles Trenet’s La Mer, and Debussy’s Clair de Lune. The range of influences spans from Debussy’s haunting notes to American standards, along with the recurring theme of L’Aigle Noir by Barbara. These musical choices, combined with ambient sounds of rain and subtle effects, contribute to the fragile and dreamlike atmosphere of the performance.

In addition to curating these pieces, I composed a violin sonata to underscore the pivotal scene between Laura and Jim, adding an intimate and emotional layer to their interaction. This blend of iconic music and original composition enhances the delicate, nostalgic tone of the production, amplifying the emotional weight carried by the characters.

With Isabelle Huppert, Justine Bachelet, Cyril Gueï, Antoine Reinartz

mise en scène Ivo van Hove
assistant à la mise en scène Matthieu Dandreau
traduction française Isabelle Famchon
dramaturgie Koen Tachelet
scénographie, lumière Jan Versweyveld

son et musique George Dhauw
assistant lumière François Thouret
assistant scénographie Jordan Vincent
costumes An D’Huys
assistante aux costumes Angèle Mignot

Adaptation of a violin sonate:

https://vimeo.com/709000122

It is characteristically punctuated with bursts of eclectic music with varying impact, including Debussy (perhaps inspired by that “silver slipper of a moon”) sounding unusually alarming.

The guardian

Als altijd heeft Van Hove muziek onder zijn voorstelling gemonteerd – dit keer met onder meer Prince, Amerikaanse standards en het schitterende L’aigle noir van de Franse zangeres Barbara, dat het leidmotief is. In dat chanson is de zwarte adelaar een metafoor voor het wegvliegen, verdwijnen, voorgoed.

De volkskrant

La bande-son est composée de standards américains des années 50, contemporains de la date de naissance d’Ivo Van Hove. On pourrait croire à une radio qui ne s’arrête jamais. Un rideau noir tombe à chaque séquence, transformant le décor en catafalque, et annulant le passage du temps. Il y a le bruit des gouttes de pluie dans les boîtes de conserve déposées en hâte, et les ombres des personnages qui s’enlacent et fusionnent sur la paroi.

Libereation

 Quant aux effets, plutôt réussis, ils sont rares : la salle inondée d’une belle lumière de lune, la pluie qui fuite dans la maison, la ménagerie de verre subtilement irradiée… et une bande-son musicale éclectique et efficace (avec en point d’orgue « L’Aigle noir » de Barbara).

Les echo