Guildhall School | Tom Bosworth

Discover Guildhall

Production Arts Tour

Explore our theatre facilities with Guildhall students

Working with professionals at Guildhall provides you with well-respected industry contacts – I’ve been a Costume Daily on Downton Abbey

Shannon Martin
BA Technical Theatre Arts (Stage & Costume Management pathway)

Guildhall has provided so many opportunities that I didn't expect when I applied. The mentor programme has also been hugely valuable to me.

Andrew McDonald
BA Technical Theatre Arts (Theatre Technology)

I chose to come to Guildhall because I wanted to become a set designer. Guildhall helped me understand who I want to be and how to get there.

Alena Tryapitsyna
BA Technical Theatre Arts (Design Realisation)

The School is the right mix of everything – supportive staff, positive work environment, world-class facilities and bespoke opportunities.

Saatvika Kantamneni
MA Collaborative Theatre Production and Design

We run like a company with each student taking on a professional role. I feel this really prepares us for the outside world

Laurie Lumley
BA Video Design for Live Performance

The projects we work on are real - we are in effect constantly getting work experience

Laurie Lumley
BA Video Design for Live Performance

The facilities available to students to create are almost unimaginable

Carreen Walton
MA Collaborative Theatre Production and Design

It's the scale of productions that really makes Guildhall stand out. It gets to the point where you think, wow, this is massive. In other places, you just wouldn't have that opportunity to learn on the job.

Sian Clare
BA Technical Theatre Arts (Costume)

I had the opportunity to work with the BA Video Design for Live Performance course on an installation project in the chambers below Tower Bridge. It was a completely unique experience.

Liam Strong
BA Technical Theatre Arts (Theatre Technology)

Tom Bosworth

Theatre Technology

Guildhall Experience

Production Sound Engineer/Sound No.1, Great Expectations (Dir. Christian Burgess, Sound Des. Robert Matthews)
Production Sound Engineer/Sound No.1, The Crucible (Dir. Mike Alfreds, Sound Des. Sean Mortimer)
Mic Runner/Sound Crew, On the Twentieth Century, (Dir. Martin Connor, Sound Des. Russell Godwin for Gareth Owen Sound)
Props Assistant, On the Twentieth Century (Des. Adam Wiltshire)
Production Assistant, Go, Make You Ready, (Dirs. Patsy Rodenburg & Sue Lefton)
LX Programmer, Mountain Language/ One for the Road/ The New World Order (Dir. Jo McInnes, Lighting Des. Rory Beaton)
LX Programmer, Dealer’s Choice (Dir. Mike Alfreds, Lighting Des. Rory Beaton)
Production Sound Engineer/Sound No.1, Lulu (Dir. Christian Burgess, Sound Des. Erin Witton)
Sound Designer, The Secret Rapture (Dir. Steven Unwin, Des. Louis Carver)
Props Assistant, Ariane & Alexandre Bis, (Des. Simon Corder)

Professional Experience

Sound Dep, Aladdin, Disney Theatricals, The Prince Edward Theatre (Dir. Edward Hall, Sound Des. Matt McKenzie)
Sound Dep, Sunny Afternoon, Sonia Freidman Productions, The Harold Pinter Theatre (Dir. Casey Nicholaw, Sound Des. Ken Travis)
Technical ASM, Promises, Promises, Southwark Playhouse. (Dir. Bronagh Lagan)
Fit up/Strike crew, Various Productions, e-Stage Production
Mix Cover, The Price, W11 Opera, POSK Hammersmith

Other Training and Qualifications

IPAF Level 3a certificate, first aid at work, fire safety training, working at height

Skills

Good Digico programming knowledge, good audio editing skills across multiple DAWs, good Qlab programming skills, basic AutoCAD training, basic Eos programming knowledge, good construction and prop making skills

Areas of Interest

Freelance sound engineer with a wide range of skills and a passion for live performance, specifically