Time Out Magazine, UK
Chekhov’s First Play, Nov 2018 by Alice Saville

“Wearing headphones gives Chekhov’s First Play an astonishing feeling of intimacy - the voices, soundscapes, and occasional Miley Cyrus banger that trickle into them make you feel like you’re alone, even as the stage fills with crowded chaos.”

The Telegraph, UK
Chekhov’s First Play, Nov 2018 by Tristram Fane Saunders

“…the real star is the show’s sound-design. Binaural (3D) stereo has become the latest trendy gimmick on the London stage, used to memorable effect by Complicite’s Simon McBurney - given an amusing shout-out here - and alternative comic Jordan Brookes. But Chekhov’s First Play pushes the technique to new limits, ingeniously blending live and pre-recorded dialogue, and using ambient sound to create moments of woozy, dreamlike intimacy….”

Irish Times
Beckett’s Room, Sept 2019 by Peter Crawley

“Listening to Brian Gleeson and Barbara Probst’s voices on headphones – moving through the space, in Kevin Gleeson’s fastidious sound design, as pronouncedly as Foley footsteps – the effect is of an illustrated radio play“

The Arts Review
Pasolini's Salò Redubbed, Sept 2019 by Chris O'Rourke

“Attention to detail is exemplary, from fake radio broadcasts to a superbly sarcastic soundtrack, right down to the marriage of image and text.”