SAM CHENG

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Sam Cheng is an Asian-Australian composer, sound designer, instrumentalist, and graduate from the Sydney Conservatorium of Music. She is a flautist and saxophonist, and has written for theatre, film, podcasts, animation, concert, and more, working with both acoustic instruments and electronic sound design in all genres. She has been involved in sound/music for theatre productions for Sydney Theatre Company (American Signs), Belvoir St Theatre 25A (Saturday Girls), Griffin Theatre Company (Mother May We), Hayes Theatre (25th Annual Putnam County Spelling Bee), National Theatre of Parramatta (Girl Band), New Ghosts Theatre Company (Albion, Cut Chilli, Frame Narrative, Girl Band, For the Grace of You Go I), Outhouse Theatre Company (How to Defend Yourself), Fruitbox Theatre (French Letters & Leather Cleaner), Kwento (The Marriage Agency), Dream Plane Productions (Labyrinth), Slanted Theatre (Ching Chong Chinaman, Chain Play, Boom), New Theatre (The Park, A Very Expensive Poison), Eye Contact Theatre (Breathing Corpses), Purple Tape Productions (Maa Ki Rasoi), and more. They've also written for independent short films such as award-winning animated short film Kariwa (2021) (dir. Kiara Rodriguez-Hextall), as well as Celestial Transits (2021) (dir. Arthur Neves), Abjection (2021) (dir. Ayah Darwich), No Place Like Tomorrow (2021) (dir. Eric Jiang), and Then-After (2021) (dir. Matthew Miceli & Harmony Lovegrove). They are familiar with music for a range of jazz & classical ensembles, having composed and arranged for the Sydney University Wind Orchestra, the Sydney Conservatorium Big Band, and the People’s Sound Project. He has also released music under the independent music label Fourth Strike, as part of the Sig Figs Collective. A lover of art and visual mediums, he prioritises music that can help enhance the narrative above all, and bring forward emotion in a story.