REVIEWS Click on image to listen to music and learn more about each production. |
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Fall of the Man. 2009 ‘Superbly inventive and beautifully adapted piece that grips the audience in a vice and refuses to let them escape’ Edinburgh Guide by Lindsay Corr **** ‘The bells toll in Sarah Llewellyn's creeping, sensual score’ Metro Review by Nadine Mcba **** 'The Fall of Man is full of beautifully detailed observations. A brooding intensity is prevalent throughout this tale of infidelity and lust’ The Scotsman by Sally Stott **** ‘A bed, three simple lights and Sarah Llewellyn's insistent soundscape, the production creates an intense intimacy that implicates its audience; you feel slightly soiled watching it’ The Guardian, Lyn Gardner *** ‘Sarah Llewellyn's plangent music underscores a neat production from director Jonathan Holloway’ Mark Courtice, Reviews Gate |
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Who will carry the word? 2009 'This stripped back performance under the superb direction of Natasha Pryce allows the stories - the words - to literally speak for themselves...The all female, multi-cultural cast are vulnerable, raw and exposed in their sensitive handling of the subject matter. Avoiding the temptation to completely breakdown on stage, they portray the strength, courage and solidarity of these women who often didn't even know each other's names.' Rachel Sheridan, British Theatre Guide 'Beautifully evocative music from composer Sarah Llewellyn draws us into the tragedy and keeps us there without tugging overly hard on the heart strings . . Yvonne's (Pinar Ogun) slow death, pride and humanity are portrayed so poignantly, it's almost too much to bear ...' Ruth O'Reilly, Remote Goat . Click here for full review. **** 'I cannot remember many works that serve as such vivid testimony to the horrors of Auschwitz...As significant as the testimony, performed here in Natasha Pryce’s courageous production by a committed, 15-strong all-female cast, is that Delbo was a non-Jew whose account destroys revisionist notions of the Holocaust as a Jewish lie. Delbo’s word should.' John Nathan, The Jewish Chronicle |
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Oscar & Jim 2009 "Sarah is a terrific collaborator. She responded to Oscar & Jim instinctively and created a beautiful and unique suite for the film, helping us fit it together with the pictures. She's fun to work with - and she's fast.' Ian Weatherby |
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CARAVAN, Giffords Circus 2008 ‘... an exhilarating clash of cultures. It is as if a rural hiring fair, straight out of Thomas Hardy had suddenly been invaded by something exotic and eastern...I loved it, and the night after I saw it, I dreamt about it too.’ Lyn Gardner, The Guardian Caravan Gifford |
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Much Ado About Nothing. Red Shift Theatre 2007 to 2008 ‘The music itself ranges from modern rock and pop played on a radio through to the haunting compositions of composer Sarah Llewellyn, hummed, sung and played live by the multi-talented cast, as well as used as background to the action. In a stroke of genius the well-known 'Sigh no more, ladies' traditionally sung by Balthasar is turned by Hero into a modern club anthem, focusing on a chorus of 'Hey nonny, nonny' and including the whole cast in a line-dance. The best version of this song that I've ever heard, it is worthy of any current song-and-dance pop-group and would surely hit the heights if released as a single.’ Wendy Attwell for the Shakespeare Revue Oct 19th '07 |
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Weapons of Happiness 2008 ' . . this piece progresses at a pretty unrelenting pace in keeping with the strength of the writing. The staging makes the best use of the tight space and the stark set from Alistair Turner provides a suitably bleak environment, which is reflected in the lighting design of Paul Bull. The combination results in disturbing, stripped down scenes, where we are left without the protection or distraction of props or complicated scene changes. Some comfort is afforded by musical accompaniments composed by Sarah Llewellyn, but these can equally contribute to the darker atmosphere'. Sandra Giorgetti (2008) for The British Theatre Guide |
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Antony and Cleopatra , Fairbanks Shakespeare Theatre 2007 "Graham Watts is a director who understands the patterns and knows how to set them gleaming. Composer Sarah Llewellyn has devised music that conveys magic and joy...A delightful production" Robert Hannon, Fairbanks Daily News |
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King Arthur , Shapeshifter Theatre 2006 "Sarah Llewellyn's folk music adds a lovely, credible sound layer" Caroline McGinn, Time Out London |
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Henry V, Fairbanks Shakespeare Theatre 2006 “Composer Sarah Llewellyn has composed an evocative score which Watts exploits to great effect, especially in the battle scenes” Robert Hannon, Fairbanks Daily News |
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Pool of Blood, J MU@ Liverpool everyman 2006 "Dark choral harmonies merge with gloriously malevolent, toe-tapping tunes in this blood-curdling rock opera cabaret." Gaynor Wright, Creative Education Manager, Liverpool Culture Company |
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Much Ado About Nothing, Fairbanks Shakespeare Theatre 2005 "Graham Watts is a director who understands the patterns and knows how to set them gleaming. Composer Sarah Llewellyn has devised music that conveys magic and joy...A delightful production" Robert Hannon, Fairbanks Daily News |
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Caligari, Unity Theatre 2003, Mayfair London 2004 "This production is enhanced by fine acting and in particular by the chilling, atmospheric score composed by Sarah Llewellyn" Felicity Newson, Liverpool Echo on Caligari, Unity Theatre |
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Tonal Launch Show 2004 This was a fantastic event. The material was strong and characterful and the performances were excellent." Diana Burrell, Composer, Artistic Director for Spitalfields Festival "I thoroughly enjoyed watching, hearing and experiencing Tonal's performance. The mood of the evening was both moving and amusing. Fresh, lively music with some very haunting moments entertained and captivated the audience. It is great to see young artists having such determination to do something relevant, refreshing and interesting" Jonathan Moore, Director/Producer |
