Noah Drew

music+sound performance creationacting

For over a decade, Noah was one of Canada’s busiest and most sought-after sound designers. He has collaborated with many of North America’s finest theatre, dance, and new music artists and organizations, and has been honoured with six Jessie Richardson awards (19 total nominations) and a Siminovitch Prize nomination. Named by The Georgia Straight as one of the stars of the Vancouver scene, Noah’s music and sound have been heard across Canada, the U.S., Europe, and Australia. Currently, he keeps active on a highly selective roster of projects.

What makes Noah distinctive as a sound designer is that — while well-trained as both a composer and a technician — his designs & compositions fundamentally informed by his ongoing work as a director, actor, and playwright. He brings to his work a combination of musical expertise, technical proficiency, and a deep sense of theatrical storytelling.

Get in touch

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Audio samples

selected theatre sound designs 2006 – 2016

click on the title of a production in the tabs above
to listen to audio samples from 2006 – 2016…

 

 

 

Glengarry Glen Ross

Produced by The Arts Club Theatre (2010)

Copper Thunderbird

Produced by The National Arts Centre of Canada (2007)

Macbeth

Produced by Pound of Flesh Theatre (2006)

Jessie Richardson Award for Outstanding Composition or Sound Design

The Secret Garden

Produced by Western Canada Theatre (2005)

selected theatre sound designs 2000 – 2005

click on the title of a production in the tabs above
to listen to audio samples from 2000 – 2005…

 

 

 

The Monument

Produced by Rumble Productions and Felix Culpa (2004)

Jessie Richardson award for Outstanding Music Composition or Sound Design

The Yoko Ono Project

Produced by the Firehall Arts Centre (2002)

Jessie Richardson award for Outstanding Music Composition or Sound Design

The Pillar Clock

Produced by the Firehall Arts Centre (2001)

Reviews

The production fills the tiny theatre space with very strong acting and some of the most impressive lighting (John Webber), sound (Noah Drew) and projection effects (Jason H. Thompson) ever seen there. Re:Union (Horseshoes and Hand Grenades/Pacifc Theatre)

Jerry Wasserman, vancouverplays.com

Drew’s sound, with its array of distortions, echoes, and music, is downright symphonic. Broiler (Theatre Replacement)

Colin Thomas, The Georgia Straight

Noah Drew’s baroque score adds to the show’s high theatrical style. Humble Boy (Vancouver Playhouse/National Arts Centre of Canada)

Denis Armstrong, The Ottawa Sun

…visceral and brilliant, and it kept reconnecting us to the horror. At the top of the show—before a word was uttered—we were dragged into a nightmare by Noah Drew’s soundscape. Sickening and terrifying, it was like a car crash played at half speed. The Monument (Rumble/Felix Culpa)

Penelope Mulligan, The Discorder

…like Enya on acid. Cymbeline (Bard on the Beach)

Leanne Campbell, The Globe and Mail

…a complex range of emotions, enhanced by Noah Drew’s seductive sound design Thir$ty (Headlines Theatre)

Kathleen Oliver, The Georgia Straight

Robin Hood … features outstanding design work … Noah Drew’s sound design is witty and energetic. If you’re not feeling merry by that point, the show’s closing number will lift you right out of your seat. Robin Hood (Carousel Theatre)

Colin Thomas, The Georgia Straight

Noah Drew provides imaginative sound and excellent musical choices. Broiler (Theatre Replacement)

Jerry Wasserman, vancouverplays.com

…the show opens with a bang, literally, a theatre-shaking explosion followed by an almost subliminal thrumming in a very effective sound design by Noah Drew. The Monument (Rumble/Felix Culpa)

Jerry Wasserman, vancouverplays.com

Noah Drew’s astonishing sound design doesn’t miss a beat. The League of Nathans (Touchstone Theatre)

Peter Bernie, The Vancouver Sun

Noah Drew’s soundscape—an aural collage of voiceovers, crackling fire, underground explosions and music both Eastern and Western—is extraordinarily layered. Burning Vision (Urban Ink/Rumble Productions)

Jo Leddingham, The Vancouver Courier

…a multi-media event … visual designer Tim Matheson and sound designer Noah Drew deserve huge credit. The Yoko Ono Project (Firehall Arts Centre)

Martin Millerchip, North Shore News

It all happens in Noah Drew’s effective soundscape. Macbeth (Pound of Flesh Theatre)

Colin Thomas, The Georgia Straight

Noah Drew’s fabulous eclectic soundscape provide[s] the ominous atmosphere… the slaughter of Lady Macduff and her children is just a wrenching sound cue. Macbeth (Pound of Flesh Theatre)

Jerry Wasserman, vancouverplays.com

…stunning. Noah Drew’s sound design begins the evening with a bone-rattling rumble that literally shakes you in your seat. From that terrifying racket, a metallic screeching emerges; it sounds like the gates of hell are opening. And through the first tense scenes, a pulse beats in the background, like the drumming of an anxious heart. The Monument (Rumble/Felix Culpa)

Colin Thomas, The Georgia Straight

Not only does this production look good, it sounds great, too. Noah Drew’s music ranges from haunting Balkan harmonies to contemporary, more Kurt Weill-ish discordance. The Caucasian Chalk Circle (Studio 58)

Jo Leddingham, The Vancouver Courier

Noah Drew’s sound design is as evocative as it gets. Thir$ty (Headlines Theatre)

Straight Choices, The Georgia Straight

Noah Drew scores a soundscape as vast as that prairie sky, as intimate as a cowboy’s lullaby. The Lonely Cowboy (PI Theatre)

Jo Leddingham, The Vancouver Courier