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.

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

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

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

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.”

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.

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

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

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

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

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.

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.

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

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.

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

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.

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

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

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.

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

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

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

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

The sound quality is amazing.

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.

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.

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.

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 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.