The Guardian
Deaf Republic, Sept 2025 by David Jays

“The plush textures of Kevin Gleeson’s sound design often blur and muffle the speaking world. Townsquare chatter and traffic envelop us, then falls silent.”

The Irish Times
Deaf Republic, Oct 2025 by Ruby Eastwood
“The camera lingers on a woman’s red-lipped mouth as she speaks, her words rendered in subtitles: “What do you see between my lips?” Behind the gauze the bride spins in ghostly blue light to a warped, underwater version of Dancing Queen. Kevin Gleeson’s sound design transforms the familiar melody into something decaying and half-remembered.”

Time out magazine
Deaf Republic, Sept 2025 by Andrzej Lukowski
“Kevin Gleeson’s droning sound design is gorgeous and primal.”

A Young(ish) Perspective
Deaf Republic, Sept 2025 by Rosa Gately
“for a play that is so much about silence, Kevin Gleeson’s composition and sound design is truly beautiful.”

Theater der Zeit, Germany
Die Erziehung Von Rudolf Steiner, Nov 2024 by Elisabeth Maier
“The technical realisation is magnificent. Kevin Gleeson's associative music opens dream bridges into the world of anthroposophy… With light British humour, Dead Centre show the comic side of Waldorf education.…. [and] captivate the audience from the first to the last moment with strong theatre images.” 

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.”