Chris Wenn is a sound designer for theatre and contemporary performance. He lives and works in Melbourne, Australia.
His sound design and compositions have featured in Liminal Theatre's Oedipus - a poetic requiem (2008, 2009) and Antigone: The Descent Across the Bridge of Acheron (2009); Ulrike Meinhof Sings (2011), The Drowning Girls (2012), A1 Rolling Steakhouse + House (2012) and the critically-acclaimed I Am The Wind (2012) by Turtle Lab; Whiteley's Incredible Blue (2011) and Triumph (2016) at fortyfivedownstairs; The Noahs (2013) and For the Love of Pina (2015) with rollercoaster; and Dirty Pretty Theatre's Something Natural but Very Childish (2010) and The Bitter Tears of Petra von Kant (2014). Other notable work includes Approximate Translation (2016) at Malthouse, curated by Felix Ching Ching Ho, and the critically-acclaimed Rust and Bone (2016), directed by Daniel Clarke at La Mama Courthouse.
His work with Red Stitch Actors Theatre includes Day One. A Hotel, Evening. (2011), The Motherf***er With The Hat (2012), 4000 Miles, About Tommy, Herding Cats, ROAM, and NSFW (all 2013), Belleville (2014), Middletown (2015) and (collaborating with Daniel Nixon) You Got Older (2016).
Chris's sound design for The Trouble With Harry (2014) was nominated for a Green Room Award in the Independent Theatre category. His sound design for Rust and Bone was nominated for a 2016 Green Room Award in the same category.
Chris was also one half of the Punch Drunk DJs, and regularly appeared at the seminal goth-industrial night Z-1 as The Upstart. He is currently expanding his sound experience as programmer and synth noisemaker for legendary punk nihilists Primitive Calculators.