"The sound on the night was excellent, although the Royal Albert Hall is about five times the capacity of a regular West End Theatre, a level of intimacy was still achieved...." The Phantom of The Opera 25th Anniversary production, The Royal Albert Hall London
Mick is in the privileged position of working with some of the worlds's greatest Musical Theatre Producers, Composers, and Directors of the last 25 years.
His journey started after graduating with a degree from London's Central School of Art and Design (now Central Saint Martin's) and he landed a job mixing Andrew Lloyd Webber's Cats, Song and Dance, and Starlight Express in the West End.
It was a time when the new modern musical was born along with the new technologies that were available for the first time.
It was the beginning of creating serious quality, creative sound in a live environment.
Inspired by this and Martin Levan ,an early adopter of new technologies, and the ongoing evolution of sound reinforcement for live Theatre he switched from Sound engineer to Sound Designer.
Mick worked in the world of Corporate productions for a few years whilst he honed his skills.
He was fortunate to be recommended to Robert Stigwood and the Bee Gees as Sound Designer for their world premiere musical version of Saturday Night Fever at the London Palladium which transferred to Broadway the following year.
Mick's earlier association with Andrew Lloyd Webber took on a different path when he was invited to join the Creative Team as Sound Designer for the world premiere of Bombay Dreams which Andrew Lloyd Webber and Really Useful Group were producing, and A.R. Rahman was composing. Ground breaking digital design, adopter of new technology ????
Bombay Dreams transferred to Broadway the following year.
Mick approached to be part of the largest ever production of The Phantom of The Opera in Las Vegas, the Venetian Theatre was being built especially for the show.
Mick was awarded the Parnell Award for his Sound Design in Las Vegas.
So The Phantom of The Opera in Las Vegas had a new sound and now attention was turned to the original London version of the show. This is when Mick was introduced to the World's "most successful, influential and powerful theatrical producer"(NY Times) Sir Cameron Mackintosh. Lots and lots and lots and lots and lots............................
Mick's skills and creativity lend themselves well toward productions that possess a particular blend of cinematic grandness and intimacy, where the sound design is a key aspect of the production. He enjoys the challenge posed by finding the perfect balance between a complex score and a more naturalistic quality.
The most important strength Mick believes he brings to a production is a deep love of both music and sound reinforcement, and his favourite moment is when, after months of work, the orchestra are put in to the pit and it turns into a musical.