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Madness

brittle, ominous underscore

On the Brink

Free, eerie undulating texture, ricochet violin lines, dark bass line

Love and Loss

Lyrical string and piano

“..love, revenge and civil unrest…”

Posted on August 18, 2016 by sarah

“Sarah Llewellyn’s haunting vocal score, sung by the cast at intervals throughout the narrative, gives the sense of powerful forces at work – love, revenge, and civil unrest – unstoppably driving events down a devastating path”. Review by Simon Fearn […]

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“beautiful, emotional and thoughtful..”

Posted on August 18, 2016 by sarah

“A beautiful, emotional and thoughtful production, this re-imagining brings the Charles Dickens classic comfortably into modern theatre.” 4 * review by Zoe Atherfild for Edfestmag

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“..far outstripped my expectations”

Posted on August 18, 2016 by sarah

“….Across the board, the cast’s performances are impressive…..A Tale of Two Cities: Blood for Blood far outstripped my expectations, both in its ability to create atmosphere and sustain thematic concerns.” 5 * review by Liam Mullally for Nouse

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“…revenge, passion and sacrifice shine through thrillingly.”

Posted on August 18, 2016 by sarah

“Jonathan Holloway finds inventive ways to trim all the fat from Dickens’ meaty work and replace it with striking images, sounds, and atmosphere. The result is that the story’s core themes of revenge, passion and sacrifice shine through thrillingly. Voices echo from […]

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“…subtle and eloquent..”

Posted on August 18, 2016 by sarah

“The piece is beautifully underscored …. subtle and eloquent and is the perfect setting to the performance.” 5 * review by Caragh Aylett for Edfringe

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“…a haunting refrain..”

Posted on August 18, 2016 by sarah

“…Overlapping language links together like a constant song. Voices rest atop dramatic violins and dialogue builds up into a haunting refrain sung pitch perfect by the actors, in between scenes to indicate the passing of time.” 5* review by Jessica […]

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“…political intrigue…”

Posted on July 18, 2016 by sarah

“The themes of grief, the stripping away of Dickensian theatricality, the political intrigue and the pertinence of damaged human relationships are all brought to the forefront” Josiah Ng for Time Out Hong Kong

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