Cruel Intentions, The Musical.

Chris Whybrow’s sound is crisp and perfectly balanced to pinpoint each vocal and each note from the four-piece band, led by musical director Denise Crowley.

Jonathan Evans,

Chris Whybrow’s sound design was excellent, striking a perfect balance between the band led by Denise Crowley and the voices of the cast – I don’t think I missed a single lyric

Chris Omaweng - London theatre

Allegiance, The Musical.

It is also, and this is no backhanded compliment in so challenging a venue as the Charing Cross Theatre, technically immaculate: a fine testament to Chris Whybrow’s sound design

Gary Naylor-

The sound design (Chris Whybrow) is nothing short of phenomenal, with every lyric by every actor clear as crystal

Chris Omaweng - London theatre

The musicality of the show is to die for. With rhythms that drive, harmonies and key changes in just the right places, the cast and orchestra deliver a wonderful sound. Chris Whybrow has delicately integrated a lot of mics and instrument pickups. Never blasting, all beautifully balanced.”

Richard Lambert -

Hairspray, The Musical.

An excellent off stage orchestra under conductor Michael Bradley makes a great noise and Chris Whybrow’s crystal clear sound means the vocals and the music aren’t lost in the wooded settings of the theatre. Having seen a few differing productions of Hairspray I think this may be the best sounding cast of them all.

Mark Johnson -

Volume and shine create a premium production for the ultimate lift. Michael Bradley’s band, along with Chris Whybrow’s sound, ensure there’s not a decibel nor syllable lost to the great outdoors

Lizz Brain - The Stage

The feed from the eight-piece band backstage, led by Michael Bradley, is brilliantly executed throughout, with Chris Whybrow’s sound design well managed in the unique setting

Jenny Ell -

Chris Whybrow’s sound design is full and rich from the first number, and certainly impressive considering the band is hidden in a tent somewhere behind the marquee

Sammi McSporran -

Dreamboats & Petticaots – UK Tour

The sound at times was extraordinary and the acoustics within the Kings, perfect for this show. Many plaudits must go to Chris Whybrow as the Sound Designer and Keith Strachan for the music production and arrangements, which were at times genius

Greg Holstead -

Chris Whybrow’s clear sound design lets the music sing loud and proudly

A strong cast of 16 performers, including a live onstage band and several actors who multitasked as musicians. A big shout out to the technical crew and the musicians, the sound was perfect tonight.

Rebecca Casey,

A final special shout out to audio man Chris Whybrow who delivered an authentic 60s sound – Sheridan Lloyd for magnificent MD-ship and nimble fingered keys, plus my top man – Daniel Kofi Wealthyland – for being the most exciting drummer I’ve heard in a long while. He drove each number with a passion in every beat.

Euan Rose, Malvern Observer

Enhanced by Nick Richings lighting and Chris Whybrow’s well balanced sound. The result is the most sophisticated by far of the Dreamboats’ trilogy.

Roger Clarke,

Cats – Kilworth House Theatre

As is so often the case, Chris Whybrow’s excellent sound design gives an overall impression far more lucid and appealing than many West End or touring musicals, which frequently suffer from muddy mixes and indistinct vocals. Here, in the fresh summer evening air, the voices are rightly foregrounded and showcased to their best advantage.

Michael Davies, StageReviews

I cannot tell you how impressive the sound, light and staging is at what could be a tricky outdoor event. Second to the movement in this production is the band, sound and lights. The 9 piece orchestra sound so rich.The orchestra and sound drive this musical and the mixing could compete with any theatre on Broadway. Masterclass. Not easy outdoors. Bravo

Online Reviews

Rehab the Musical

This is a show that has invested as much in its production values as in its libretto (take a bow designers for set, light and sound Andrew Exeter and Chris Whybrow respectively) with Simon Lee’s 4-piece band, hidden atop the stage, making gorgeous work of the exciting score.

Jonathan Baz

Gary Lloyd’s direction in the round is slick, and Chris Whybrow’s sound mixing creates lovely even harmonies in an intimate space
Mailí Ní Ghormáin - Lostintheatreland

crystal clear sound design from Chris Whybrow delivers a truly atmospheric setting

Daz Gale, All that Dazzles

The rock elements of the score are properly loud, but do not overpower the singing (there’s a lesson for many a new musical there) and the ballads’ melodies hand over the perfect emotional toolkit to the vocalists so they can put us through the wringer.
Gary Naylor, Broadway World

Everything about this show is so good – the directing, choreography, set design, musical arrangements, script, cast, sound, operating. There isn’t a weak link anywhere

Richard Lambert, Theatre Reviews Design

Half a Sixpence

Chris Whybrow’s strong sound design is clear and crisp even against the open air elements. An orchestra under musical director Christopher Mundy makes the music come to life and does a magnificent job.

Mark Johnson, West End Best Friend

Combating the open air elements can be tricky but Chris Whybrow’s sound is clear and clean

Mayflies, York Theatre Royal

Reactions between very brief scenes are smartly worked out with David Howe’s lighting changes and Chris Whybrow’s sound

Ron Simpson -

Through stunning Light (David Howe) and Sound Design (Chris Whybrow) there was a beautiful sense of joy and connection in flowing movements leading to a series of flashbacks and flashforwards

Julia Pattison – Yorkshire Times

This intricate but never ornate production is full of work of the highest standard, not only from the performances that can switch from charming to charmless, funny to foot in mouth, thoughtful to thoughtless in both characters, but also in Chris Whybrow’s sound designs and David Howe’s lighting, in turn transforming from warm to chill to match the ever-changing moods

Charles Hutchinson -



The sound quality is amazing.

Philip Lowe –

Chris Whybrow’s sound design alongside Neil McNally and George Rowell’s sound engineering and operation makes the production sing. Even with the sounds of nature you’re never distracted or removed from the piece and that is thanks to the great sound work.

Top Hat

The 3-piece band: Joe Atkin-Reeves, Callum White and Musical Director Chris Poon, sounded lush playing Francis Goodhand’s wonderful orchestral arrangements with Chris Whybrow’s Sound Design creating the perfect balance between band and voice.

Catherine Françoise, Mozart to Musicals

All credit to the arranger Francis Goodhand, musical director Chris Poon, and sound designer Chris Whybrow for drawing such a hearty noise from a skeletal band..
Clive Davis, The Times.


The whole cast really relish William Finn’s score and the songs sound great in the space.

The entire team act through song fantastically and truly bring out the best of the work, whilst, Chris Whybrow’s sound design highlights the strong vocal techniques which course through the cast

The small band under MD Richard John generates a fabulous, controlled sound.

Michael Davies, StageReviews

American Idiot

Winner of BWW 2015 Award for Best Sound Design in a New Production of a Play or Musical

The sound balance is excellent: you can hear all of Billie Joe Armstrong’s lyrics even on the odd occasion when you rather wish you couldn’t. 4****
The Independent

Delivers an energy and sound that is rarely seen in the West End.

The band and ensemble sound exceptional. 4****
What's On Stage

The delivery of the songs, the sound of the live band – all of it brimming with authenticity and anarchy. The creative team have definitely done their homework.

And it’s loud, although the sound team deserve a mention for the clarity and quality of the production.

Where it really excels is, of course, the music. The inclusion of a live band on stage is perfect, and they steal the show throughout. They are excellent, and I was so impressed with how they managed to capture a punk vibe without drowning out the vocals – perfect sound design!

The band occupy the upper tier and bring tremendous music to the entire show, and while you might expect it to be too loud, it never is. It’s nicely balanced.

Thriller Live

The sound balance – so crucial – is superb: not overbearing, but beautifully calibrated.

Chris Whybrow’s sound design — crystal clear and yet beefy and bold — is an integral element for the success of the production.
Daily Review – Sydney, Australia

A visual and audio feast for fans of the legendary Michael Jackson.
Birmingham Mail

Show-stopping Sound.
Bath, Gazette & Herald

The sound is loud but doesn’t distort the really fine voices of the singers, so three cheers for the sound designer, Chris Whybrow. 5*****

The songs are great and the singing and dancing is outstanding, it also has the best live band I’ve heard in a theatre for a long time.
Tony Blackburn

It’s all laid down with tremendous funk and fusion of lights, sound and dance moves.
Micheal Coveney, The Independent

Breathtaking sound and light design.

Mounted on a colourful set with plenty of eye-popping CG visuals and a zappy, effective sound design by Chris Whybrow, the cast of artists from UK, Australia and the US all exuberantly bumped and grinded their way through MJ’s famous hits. – Brisbane, Australia

The Live band at this production is exceptional with an ‘arena’ feel sound-system offering the full Jacko experience.

The Thriller Live set design is by Jonathan Park. The terrific special effects come courtesy of The Twin FX Visual and are super complimented by Nigel Catmur’s electric lighting designs and sound to die for by sound designer Chris Whybrow.

It arrives with genuine West End production values – the sound is phenomenal, the dancing sensational, the lighting awesome, and the Pavilion stage has never seemed so big, impressive, and utterly dazzling.
Southern Daily Echo

The Rat Pack Live from Las Vegas

One of the best bands I have heard in a long time, led by Musical Director Matthew Freeman. The band’s arrangements are tight, incredibly well played and every instrument can be heard beautifully, with some lovely work by the sound department not to overpower the vocals.

20th Century Boy

Credit to Chris Whybrow’s sound design which was perfectly balanced on this first night in Wimbledon.

Legally Blonde

Even the band, packed into a tiny marquee beyond the stage, spares no grandeur in the arrangements, and sounds fantastic.

Philip Whitcomb’s set along with Chris Whybrow’s well-crafted sound design ensure all the action is both seen and heard as the sun sets behind the trees.
Jonathan Baz -

Singin’ In the Rain

The quality of playing and the deft mixing make Kilworth’s sound design among the best on the circuit, and contribute enormously to the enjoyability of the production.

West Side Story

Electrifying production played with energy, spontaneity and passion.

Thoroughly Modern Millie

What makes musical productions so outstanding in this venue is that there are no walls to contain the sound. It swells and expands like something let loose into the atmosphere.
Just couldn’t be bettered – sheer joy from start to finish. *****
The Stage

Chris Whybrow’s sound ensured that lyrics were always clear and the balance between voice and orchestral texture perfectly poised.
Stephen Collins,

The band sounds fantastic.

The performance of ‘Thoroughly Modern Millie’ was outstanding, from the live orchestra, who where perfectly tuned , who could be heard perfectly by the amazingly clear sound system, it was hard to believe you were in the middle of a forest.
TripAdvisor User

Footloose Tour

Sound designer Chris Whybrow excels in technically delivering the perfect balance of music and voice through every number and dramatic sequence…. from the first opening of thundering drums of the Footloose theme you could tell sonically it was going to be good.

Perfect clarity.

Madagascar The Musical – Tour

Chris Whybrow’s sound wraps itself in a zebra-hug round George Noreiega’s recorded score, supervised by Angharad Sanders where Mark Crossland’s ensures a big beast sound with a delicate roar: it never overwhelms the aural envelope and you can hear the singers.

Sound quality throughout was crisp and clear, with no visible mikes.

We heard every word throughout the performance. Sound effects were executed in perfect timing, adding further realism to the show.

Knights of the Rose

The musical direction comes from the hugely experienced and sensitive Mark Crossland, who is a peerless interpreter of the vocal arrangements, orchestrations and additional music of the wonderful Adam Langston, their sounds given fulsome shape by Chris Whybrow’s confident and shrewd sound design.  You will never forget the moments of wonder they present: in particular, the effect of the men’s voices singing together in choral numbers is ravishing.

The show benefits from impressive use of sound and projection effects which add depth to the battle scenes.

Guys and Dolls – Kilworth House Theatre

Pure musical theatre heaven in a scintillating, glowing revival of the Broadway classic.
Mark Shenton, The Stage

Chris Whybrow’s sound design doesn’t just subtly overlay New York traffic sounds but in the romantic Cuban moments, listen carefully to waves lapping on the shore.

A good chunk of the credit goes to Chris Whybrow, clearly something of a sound superstar, handling the difficulties of a live yet hidden-from-view band,  a company of 25 and the acoustics of an open-air theatre with aplomb.
Lizz Brain, The Leicester Mercury

Joseph and the Amazing Technicolor Dreamcoat – Kilworth House Theatre

And the big numbers – culminating in a tearaway Joseph Megamix – are mighty and explosive.
Pat Ashworth, The Stage

Top Hat – Kilworth House Theatre

The open-air setting of Kilworth House is skilfully tackled by the show’s team. Morgan Large’s set offers an Art Deco vision that is as ingeniously multi-functional as it is dreamily elegant, never overshadowing the performers, merely enhancing their work. Similarly Chris Whybrow’s sound design works well with the venue’s unconventional acoustics – not a word or note is missed.

The Wizard of Oz, Blackpool Opera House

Chris Whybrow and Jack Weir have designed a sound and light show that delivers giant-sized effects to match the ambitious scale of an inventive and entertaining production.
David Upton,

The sound and light effects when the Witch comes on stage are brilliant.
Kim Bickerdike,

And while some of the other action gets a little dwarfed, musical director Dean McDermott’s marshalling of the seven-piece band helps the film’s much-loved songs and Mark Crossland’s lush arrangements to fill the venue to the rafters.
Chris Bartlett , The Stage