The script called for 'Bangerz please'. Composer & Sound Designer Tom Backhuas discusses Jersey Club, lo-fi fusion jazz and big 80s synths in Shoelace Chaser.
What’s your role as Composer & Sound Designer? How do you explain the difference between the two aspects of the role?
In short, the roles of composer and sound designer are responsible for everything you hear that isn’t the text. I think the key difference is that the sound designer sets the time and place and the composer sets the tone and mood. There’s a pretty thin line between the two and both roles work hand-in-hand to enhance the storytelling of the play.
To design a scene set in a café, the sound designer might imagine what one could hear if they were sitting in that café – perhaps some general chatter, a dishwasher humming and the clatter of crockery and cutlery. The sound designer will combine all of these sounds into a single source, called “atmos”, to signal to the audience where the scene is taking place. Conversely, the composer might imagine what the characters in the scene are feeling and compose music to enhance or subvert those feelings.
Director Liv Satchell, Set & Costume Designer Bianca Pardo and Composer & Sound Designer Tom Backhaus. Photo: Matto Lucas
How does music/sound design help build the world of this show?
The set remains static in Shoelace Chaser, so sound plays a crucial role in establishing a sense of place. Subtle variations in the atmospheric tracks distinguish between Thea training at her local track and racing at the more polished university venue.
The music operates in a subjective space, reflecting Thea’s internal world. I think of the soundtrack as a kind of Greek chorus, underscoring and echoing her key thoughts and emotions throughout the show. One clear example is the gradual increase in tempo as the show progresses, which mirrors Thea’s racing mind as she struggles to keep up with her commitments.
Thinking about a specific moment, could you explain the intention behind your music/sound?
The training montages draw on a very specific reference point: the frenetic energy of HIIT gyms. Loud electronic beats pulse beneath trainers yelling encouragement (and occasional admonishment), all within a room full of people jumping, running and lifting weights. The environment is sensorily overwhelming, creating a powerful sense of momentum and urgency that pushes you to work harder. This makes it an ideal soundscape for an intense workout montage.
As the show progresses and Thea’s commitments begin to outweigh her capacity, the music intensifies and the phrases become shorter. This shift reflects her growing inability to keep up with the competing demands of school, work, running, and her mother’s floristry business, Fifi’s Flowers.
Director Liv Satchell, Composer & Sound Designer Tom Backhaus and Writer Madelaine Nunn. Photo: Emily Doyle
What kinds of sounds/instruments/effects should we listen for in your design?
Three main genres: Jersey Club, lo-fi fusion jazz and big 80s synths (yes, that is a genre). There’s also a cheeky quote from a well-known video game soundtrack, which I will be very impressed if you identify.
How do you collaborate with the director and other creatives?
I collaborate primarily with the Director and Lighting Designer. In pre-production, I work closely with the Director to align with their vision, and in rehearsals, I focus on enhancing the storytelling through sound and music. Developing ideas quickly and testing them in the room with the cast is an effective way to discover what will translate successfully to the final production.
During production week, I collaborate closely with the Lighting Designer. Together, we refine timing to ensure shifts in mood are seamless and the pacing of the work remains uninterrupted.