Responsible for sound design and composition for GAG REFLEX, Ethan Hunter answers the tough questions...
1. How do you begin?
Usually involves having a long chat with a director going back and forth over many stupid ideas, then I will go home compile a playlist of tracks that sit within the world of the show, I’ll listen to that for a few weeks, then usually I have a great starting point to start making more detailed suggestions and start creating content.
2. How do you know when something is “finished”?
I only really know something is “finished” when I’m forced to leave the venue or when my brain physically can’t handle any more noise. More realistically, it’s when the performance on stage feels solid and grounded. At that point, I know I’m on the right track and it’s usually best not to change too much. But always the final cut off point for me is the few hours before opening night; once it's at that point I won't touch it and leave it be.
3. What’s your favourite way to work?
I love to work in a supporting role, I'm here to support the actors and the text to help the story get across. So for me that means listening closely to what performers and directors are offering, noticing what isn’t quite sitting right, and adding an extra layer that enhances the work or fills a gap. Also I value checking in with the team, being able to share tracks and funny stories is always a necessity.
Ethan Hunter (he/him) is a sound designer and VCA graduate (BFA Design & Production)
working across theatre, dance, film, and installation.
His recent notable credits include sound design for Back To Te Maunga (2026) at La Mama,
What’s Yours (2025) and Who’s Afraid of Virginia Woolf? (2023, 2024) with Red Stitch Actors’ Theatre, Boys on the Verge of Tears (2025) at fortyfivedownstairs, Flesh Vessel (2025) with The Australian Ballet, I Met An Angel Named Jacques (2025) with Footscray Community Arts, I hope this means something (2024)
at Chapel Off Chapel, Laundry Shoot (2024), MinusOneSister (2023) at Theatre Works, and
several graduate productions at VCA, such as Plant Nation (2024), Theatrum Botanicum
(2022), and The Wolves (2022). Ethan has also collaborated with Masters of Theatre
(Directing) students on captivating projects like Ariadne (2021), and An Unseasonable Fall of
Snow (2022) at VCA.
In addition, Ethan has worked as a Sound Engineer at companies such as Malthouse and Melbourne Theatre Company as well as touring with Chunky Move’s 4/4 and U>N>I>T>E>D
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LA MAMA PRESENTS GAG REFLEX
7-23 May 2026
FIND OUT MORE AND BOOK GAG REFLEX
Developed as part of La Mama 2025 Residencies and supported by the City of Melbourne Arts Grants. The writer of GAG REFLEX, Flick was part of La Mama's Writing Intensive in 2024.