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Listen out for Lanny: can Max Porter’s mythic tale of a mulch-guzzler really be heard in this woodland?

Every sun-dappled object is an instrument as composer Dom Coyote and sound designers Elena Peña and Dave Price conjure trip-hop-inspired rhythms in the Mendips for a new stage adaptationThe woodland is stuck to our skin. Sound designers Elena Peña and Dave Price are hunched next to me, burying a microphone into mossy ground. Composer Dom Coyote is listening on headphones, crunching out a rhythm with his boot before shucking his shoes for a subtler sound. “It’s got to be socks off, Dom,” says Price. Coyote obliges, the balls of his feet soon covered in dead conifer needles. “Do you wish you’d had a pedicure now?” Peña asks.It’s a short drive from Bristol to this patch on the Mendip Hills, where pine cones and rowan berries scatter at the entrance to the trees. We’re on the hunt for sounds to orchestrate a staging of Max Porter’s novel Lanny. The adaptation by Somerset-based Bea Roberts moves the spectral story of a lost boy and a mulch-guzzling creature from commuting-distance-to-London to commuting-distance-to-Bristol, with director Nancy Medina wanting the show’s sound to exist within the city’s historical music scene. “A kind of trip-hop world,” says Coyote, who is exploring this idea by replacing electronic beats with those of the natural world. “So we need to go and play the forest.” Every sun-dappled object becomes an instrument. Up on his feet, Price tests out a rhythm on a deep-timbred trunk. He points to the tree. “Any notes for the snare drum department?” Continue reading...