Hey there, I’m Jordan.

I’m a Sydney based, passionate theatre maker, sound and video designer and stage manager with applied experience in the greater arts sector. I specialise in developing bespoke and impactful sound design and scoring for plays, dance and immersive experiences.

I spent 14 years training as a classical ballet, contemporary and commercial dancer. I’ve also trained in acting and voice through audition selective, pre professional training which all contribute to my creative toolkit.

I’m a maker who uses digital technologies to communicate and create. My assets include Adobe Photoshop, Final Cut Pro, Logic Pro, Ableton Live, Adobe Audition, Qlab for sound and video, ETC EOS and more.

I’m also a freelance voice actor working from my home studio.

I hope we can work together,


Hear and read about some selected repertoire

Additional Credits

Sound Designer and Composer - Possum Magic (NIDA)

Sound Designer and Director - As Innocent as Milk (Radio Drama)

Sound Designer and Engineer - Memry Lane (Development)

Sound Designer - Facade Escape Rooms

written and directed by Amy Sole

Burning is a world premiere and vital First Nations work written and directed by Amy Sole. This theatrical epic, designed by Angelina Meany, confronts the pain inflicted upon these lands and this soul.

About the Design

Amidst the embers of burnt-out trunks, parting the ashes of baron country, our play reflects on what has been lost by the burning colonial and patriarchal destruction. It is in these smoky remnants that future dreaming splashes its colour on ancient country, against a dark canvas of night.

Part of Burning’s artistic purpose is to confront its audience. It tells a painfully, truthful and shattering lived experience of Blak women in Australia. However scarred the country and the people of this place are, the world is inherently made alive by their poetic detail and playfulness, a heartfelt and hopeful meditation of their experiences that reflects not only on grief, but projects a bold declaration.

Hear the Work

The following is a restructured piece titled 'Looking out barefoot' . Its a combination of a number of scenes that in essence provides a sonic overview of the enitre work, underscored by a climactic, musical ambience titled ‘Dream’.


Woman - Shakira Clanton

Saltwater Woman - Dalara Williams

Lonely Girl - Remi Ferguson

Man - Shaw Cameron


Set/Costume Designer - Angelina Meany

Lighting Designer -Pip Morey

Sound Designer - Jordan Magnus-McCarthy

Costume Supervisor - Jasmin Gray

Head Electrician - Cameron Russell

Production Stage Manager - Madeleine Picard

Deputy Stage Manager - Grace Sackman

Head Makeup Artist - Teagan Hay

Makeup Artist - Anthony Bonfanti

Show Crew -

Oliver Bryson

Siena Head

Ugochi Okorie

Joshua Watts

The work explores the natural soundscapes of Birpi country, particularly the landscapes surrounding coastal areas and has a deep and nuanced focus on wildlife, local flora and their textures. Intertwined with the harmony of nature is the characters themselves, their voices that dance and lilt in and around tall trees in the dark. Painted in ambient, deep luscious swells are sounds that flow colour and light. The work climaxes in the scene ‘Bird on Shoulder’ with the musical underscore piece titled ‘Dream’. Heard in depth on the attached Soundcloud file, ‘Dream’ was written to capture the strength and will of bold women, who even in moments of absolute peril, threat and isolation maintain to protect the country and their sovereignty.

The development of Burning took place as part of the NIDA ‘Festival of Emerging Artists’. From first read through to first plotting session, the design had 1.5 weeks to grow from concept to tangible content. Much of this creative process was empowered by the vision of Amy Sole who developed a shared creative image to achieve by the design team.

The work was built on both Ableton Live 11 and Logic Pro X. It was programmed for playback on Qlab V4. It featured a powerful entracte of ‘Blak Matriarchy’ by Baarka.

“I feel like I've got a hole in my chest... it's getting bigger."

Lukas isn’t in a good place. He hasn’t been for some time.

His friends Claude, Song and Dylan can’t sit by and watch anymore. Tenderly and patiently, they start to tell each other stories. Of the moments they all met. Of the times they were complete idiots. They tell these stories because they know their friend Lukas also needs to tell his. His life depends on it.

This group of 20-year-olds are there for each other in the only way they know how – with ridiculous stupidity, blunt honesty, and unconditional joy.

The simplest acts of kindness are sometimes the most important.

About the Design

The design stems from an examination of the self - the sinews of memory drawn out over time, how the prism of perspective and the juxtaposing closeness and distance of our past distorts perception. Its a reflection on youth, its guilt and trauma - but also the pieces that mend the wounds we carry.

Kindness is told through a sonic lens that is ever-present, in a play that is complex in its timeline and structure. The sound helps deliver nuance of past, present, allusion and delusion and is an echo chamber to the lead protagonist. On a granular level, it speaks in frequencies and interferences in the vast spaces across the imagination and the space between, heavily inspired by the spatial language of lunar communications and galactic discovery . It is subtle yet hypnotically holding the space at the same time. It is musical, it is harsh, it is warm. It is, in essence, a player in the space.

The design is built using Ableton Live 11, featuring instrumentation from Reason+ 12, Vital Audio and Spitfire Audio Labs. Much of the composition is layered and crafted using raw materials, primarily sampled using the Soma Laboratory 'Ether V2', a fantastic tool that gathers the hidden electromagnetic waves of electronics and elements in the spaces we inhabit. Much of the raw and VST audio was also sent through a Microcosm Hologram. The show was programmed and played back on QLab V4 on an Allen and Heath SQ5.

Hear the Work

“The following is a restructured piece titled 'Kindness in Me' which was used as a guide for the overall sonic landscape. Many of the elements in this track were stemmed into many scenes, however as a holistic piece, this work exists only as a guide. Please note, the mix has been reformatted for playback on standard operating platforms from its original

8.1 system layout.


Lukas - JK Kazzi

Claude - Lillianne Lord

Song - Madeline Li

Dylan - Lập Nguyễn

Oliver - Jack Patten


Set/Props Designer - Madaleine Cooper

Costume Designer - Taylah Miller

Lighting Designer - India Lively

Sound Designer - Jordan Magnus-McCarthy

Voice Coach - Jack Starkey-Gill

Assistant Director - Mehhma Malhi

Production Stage Manager - Bernadett Lorincz

Deputy Stage Manager - Arwen Davidson

Assistant Stage Manager- Archer Dametto, Jasmine Power

Construction Manager - Tommaso Patelli

Costume Supervisor - Michiru Encinas

Properties Supervisor - Tanne Patterson

Demo Reel

I first began working with my voice as young as 13 when I became involved in community radio. Over the years, I began working freelance voicing pieces for commercial radio, TVC’s, cinema and online campaigns. Now, I work in my own home studio and can provide personalised, professional voiceovers for commercial, announcement and character pieces.


NIDA BFA Technical Theatre Stage Management - 2023

NIDA Actors Studio - 2020

Private Vocal Tuition, Daniel Assetta - 2020-21

Contemporay Audition Technique - 2017

RMIT Acting - 2019

Age Range

18 - 25



English (Fluent)

Mandarin (Conversational) Korean (Conversational)

French (Conversational)

Australian, Estery (London), Scottish, Welsh, Irish, French, German South African, New Zealand, California, Southern.