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Samples and documentation of past work.

Media & Reviews

FIRST FLEET by Nine Years Theatre (2019)

"From the moment we stepped into the space right to our exit after the performance, what particularly floored me was Ng Jing (Ctrl Fre@k)’s intricate line-up of sound cues. Ng’s does wonders in creating a sonic environment so attuned to the direction of the play that it was hardly noticeable at times, and therefore perfectly complementary. We were greeted by house sound cues upon stepping in, but what I remember most under detailed layers of audio was a very soft sequence of birds calling in the distance (alright, it was so soft I may or may not have imagined it). Playing percussive instruments live, Ng sounded with perfect timing the crack of whips and most notably, the creaking of the ships wooden floorboards — made with frequent and quick taps played live on a drum whenever the actors moved objects on the ship or to indicate a slight tilt or positional change of the ship’s body on the waters. The sound system set up within the performance space adorned the production with an enveloping sound field, creating a sonic experience that was not only heard but felt (figuratively and literally). One particular scene ended with a loud boom with an engulfing resonance that truly shooketh not just the audience but what seemed to be our seats too."

- Cheryl Tan, PopSpoken.

"Lim Chin Huat’s minimalist set design giving just enough detail to imagine we’re on an actual ship, anchored by two sets of sails in the middle of the stage. Gabriel Chan’s lighting and Jing Ng’s sound design help transport us right to the heart of the ocean as well, from the sound of rolling waves to the vision of a ferocious thunderstorm."

- Bakchormeeboy第一舰队-by-nine-years-theatre/

THE FATHER by Pangdemonium Theatre Company (2018)

"Each blackout becomes a memory hole in Andre’s mind, and James Tan’s lighting design allows flashing strobe lights to make us feel as if we’ve been momentarily dazed, while Jing Ng’s disturbing electronic music breaks the naturalism, almost sinister in the way it creeps into nearly every scene. There is uncertainty in the heads of both Andre and the audience as we watch reality collapse and stop making sense, leaving us with the deeply uneasy feeling that we can no longer trust anything we see, much like an actual dementia patient."

- Bakchormeeboy

liTHE 2018 by T.H.E. Second Company (2018)

"Goh Shou Yi continues his obsession with “MA”, the in-between, the simplicity of his aesthetic matched by sound and design. For the latter, the live-ness of sound artist Ng Jing melded superbly with the sparseness of Liu Yong Huay’s lighting design."

- Bernice Lee, Five Lines.

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