REVIEWS Click on image to listen to music and learn more about each production. |
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BRITANNICUS . 2011 'It makes for a fantastically volatile production, which leaves one glued to the actors' eyes, desperate for clues as to who will turn, and in what direction, next'. ****By Miriam Gillinson, Time Out full review 'The well-spoken production moves swiftly onward revealing its characters' Byzantine scheming, scenes sometimes separated by Sarah Lewellyn's cacophonous music and sound that stridently sustain its momentum' 'Sian Thomas' Agrippina is fabulously venomous and deceitful, her commanding posture saying it all. 'Once shunned by the British theatre, Racine is edging back into fashion. It is well worth the detour to London's East End to catch Irina Brown's modern-dress revival of this austere 1669 masterpiece. . .' |
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War and Peace at the Circus. 2011 ' Sarah Llewellyn has composed intoxicating music for a gloriously rumbustious town band.' Rupert Christian, The Telegraph, June 2011 'total delight' Ismene Brown, The Arts Desk '. . .there’s real storytelling here, and the kind of attention to detail that drapes the tent with giant scrawled excerpts from the book and gives a real Russian twist to Sarah Llewellyn’s fine music played by the live band . . . Brilliant.' Libby Purves, The Times '. . .Snatches of folk music from a distant band float past on an early summer breeze . . a tiny colourful and thoroughly unusual troupe . . .' Patricia Carswell, The Telegraph, May 2011 '. . .the unique charm that is Giffords, plenty of circus skills threaded along the narrative of a pared down version of the Russian classic. Full of drama, rousing music and some inspired clowning from Tweedy the Clown. . .' Hereford Times, The Hay-festival, May 2011 'I love the music, it's a massive highlight for me: the mood shifts, rhythm and brass are extraordinary, melodies beautiful and this year's devil's stomp makes my hairs stand on end'. Peter Browning, audience member 'The original score and live music is one of the things that makes Gifford’s so memorable. . . ' Laura, Word Press |
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Yasmine, a Musical. 2010 'One of the greatest shows I've ever seen and the music was the best thing about it' Alex James from Blur ' Giffords has an exceptional 12-piece ensemble. Yasmine - a Musical has a fun, concert party feel - with the artists at times sporting glorious animal heads - and some thrilling acts . . .Giffords has created a dream of a show' Liz Arratoon, The Stage ' Pulling everything together there's live music from the twelve-piece band—several of whom step into the ring for a duelling banjos stand-off or the odd bit of game transvestism . . . .its very fabric, honours all the best qualities of the circus world. I'll go back next year' Side Show circus magazine ' The whole show is sewn together with a score which was deliciously jazzy and performed by a stupendous band of players and singers. The music was beautiful, playful and pulled you into the magic of the show. We couldn’t help dancing in our seats and it is worth noting you can buy the soundtrack.' Kat, Bambino Goodies |
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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’ Reviews Gate , Mark Courtice |
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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 **** '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, Giffords Circus |
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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, JMU@ 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 |
