Matt McKenzie

Matt McKenzie came to the UK from New Zealand in 1978. He toured with Plaines Plough before joining the staff at the Lyric Hammersmith in 1979. He designed the sound for several of their productions including: Favourite Nights, Rents, Brittanicus, Noises Off, The White Glove, The Provoked Wife, Private Dick, Miss Julie, Hobson’s Choice, Mass Appeal, Crime And Punishment, Lent _and The Man Who Fell In Love With His Wife_.

Since joining Autograph in 1984, Matt has been responsible for the sound design for: Macbeth (Nuffield Theatre, Southampton); Una Pooka (Tricycle); Angry Housewives, The Hypochondriac, Faith, Hope And Charity, Sailor Beware, Loot, Lady Audley’s Secret, Madras House, They Way Of The World, Ghost Train, Greasepaint, In The Summer House and Exact Change (Lyric Hammersmith); Vertigo, That Good Night and Hinge Of The World (Guildford); Saturday, Sunday, Monday, Easy Virtue, The Seagull, A Midsummer Night’s Dream, Master And Margarita, 5/11 and Nicholas Nickleby (Chichester Festival Theatre); The Giant (Hampstead); Three Sisters Of Hope Street (Liverpool Everyman); Dracula, Frankenstein, A Midsummer Night’s Dream and Macbeth (Derby Playhouse); Flamingos, Damages, After The End and tHe dYsFUnCKshOnalz (Bush Theatre); Wuthering Heights at Birmingam Repertory Theatre, and in the West End: Made In Bangkok, The House Of Bernarda Alba, A Piece Of My Mind, Journey’s End, A Madhouse In Goa, Barnaby And The Old Boys, Irma Vep, Gasping, Map Of The Heart, Tango Argentino, When She Danced, Misery, Murder Is Easy, The Odd Couple, Pygmalion, Things We Do For Love, Long Day’s Journey Into Night, Macbeth, Sexual Perversity In Chicago, Calico, A LIfe In The Theatre, Swimming With Sharks, Nicholas Nickleby, Deep Blue Sea, Female Of The Species, Girl With A Pearl Earring _ and for Sir Peter Hall: _Lysteria, The Master Builder, The School For Wives, Mind Millie For Me, A Streetcar Named Desire, Three Of A Kind, Amadeus (in the West End and on Broadway); the opening season at the new Soho Theatre and several subsequent productions including: Leaves Of Glass and Baghdad Wedding; Frame 312, After Miss Julie and Days Of Wine And Roses (The Donmar); The Giant and Three Sisters On Hope Street at Hampstead and Iron, The People Next Door and Orphans (the Traverse).

He was sound supervisor for the Peter Hall seasons at The Old Vic and the Piccadilly and designed the sound for Waste, Cloud 9, The Seagull, The Provok’d Wife, King Lear, The Misanthrope, Major Barbara, Filumena and Kafka’s Dick. Work for the RSC includes: Family Reunion, Henry V, The Duchess Of Malfi, Hamlet, The Lieutenant Of Inishmore, Julius Caesar and A Midsummer Night’s Dream. Matt’s musical work includes: Love Off The Shelf (Nuffield Theatre); The Bells Are Ringing and Talk Of The Steamie (Greenwich); Forbidden Broadway and Blues In The Night (West End); Matthew Bourne’s Car Man (West End and international tour); Putting It Together, The Gondoliers, How To Succeed In Business Without Really Trying, Carousel, Babes In Arms, Funny Girl, Music Man and Oklahoma! (Chichester); Oh What A Lovely War, A Christmas Carol, Sweeny Todd, Company, Into The Woods, Merrily We Roll Along and Moon Landing for Derby Playhouse; Annie Get Your Gun (Young Vic); Mark Ravenhill’s Dick Whittington (Barbican) and the co-sound design of Tess (Savoy) and Alice In Wonderland (RSC).