Press
Tambo and Bones / Stratford East​
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"Sound design by Richard Hammarton... is used to great, disturbing effect when the sounds of people hiding in fear while being hunted for execution echo around the auditorium, as if they are hiding in nearby nooks and crannies." - All that Dazzles.
Jekyll and Hyde / Lyceum, Edinburgh​
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"The synergy of staging by Max Jones, sound design by Richard Hammarton, and lighting by Richard Howel contributes significantly to the production’s overall impact. " - A Younger Theatre.
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"Through a black-and-white colour scheme (a nod to the tale's duality) and accompanied by Richard Hammarton's sounds, he presents a delightfully eerie atmosphere, particularly when Utterson sees Hyde for the first time." - Broadway World.
Describe The Night / Hampstead
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"The smooth scene transitions, aided by Richard Hammarton's compositions, really help the story flow and sum up the tone of the adjacent scenes. This is a perfect example of technology being used to aid the storyline when Yevgenia is struggling as, Ophelia does in Hamlet, with her sanity and is chasing the sound of a Cello that Babel promised he’d play in the woods..." - A Youngish Perspective.
Love From A Stranger / Royal & Derngate
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"...there are hints that something sinister is afoot with sound and lighting (Richard Hammarton and Oliver Fenwick) playing an exceptionally important role, and it’s strangely unsettling when the whole flat slides sideways." - British Theatre Guide.
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"Richard Hammarton’s sound design and Oliver Fenwick’s crimson-tinged lighting are characters in themselves, helping to ramp up the creeping tension."
The Reviews Hub.
Girls / Soho Theatre
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"Meanwhile, events in the outside world — from Boko Haram’s filming of hostage videos to the need to keep moving on — are conveyed by a sharp, loud, even painful, percussive soundscape that is chilling in its brutality." - Aleks Sierz.
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"Andy Purves's lighting and Richard Hammarton's sound design are crucial to creating the claustrophobic and frightening atmosphere of the forest and then the camp the girls find themselves in. Some scenes are seconds long, with starkly atmospheric lighting and echoing sounds that are boomingly loud and sometimes haunting. It is a very effective mixture." - Broadway World.
The Crucible / The Old Vic
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"Richard Hammarton’s foreboding sound score, with its electronic growls and rumbles, ratchets up the tension like a horror movie." - Telegraph.
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"The dark atmosphere of foreboding is augmented by Richard Hammarton's sound score with its ominous rumbles and distant clankings. " - The Independent.
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"...skin-penetrating sound..." - New York Times
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"Richard Hammarton’s unsettling string and drone-based score punctuates it perfectly" - TimeOut
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"Soutra Gilmour’s spare design, Tim Lutkin’s lighting and Richard Hammarton’s brooding sound combine to create a tormented, shadowy atmosphere — never more sinister than when ash tumbles on to the stage like black snow." - Evening Standard