A strong feature of the work is Dave Price’s sound design, which progresses from the idiosyncratic to the hellish, with the final minutes played out to sinister industrial percussion.

Luke Jennings - The Observer

There are solos that make the most of Dave Price’s soundtrack, a sort of percussive ultra-lounge which adds hugely to the David Lynch vibe.

Louise Levene - Financial Times


Dave Price’s music – combinations of voices, strings, wind, percussion and keyboards – is magnificent. It gives shape and depth and atmosphere and helps to make whole what we see before us.

Clare Brennan – The Observer



The era is both now and then. The timeless quality is cleverly evoked through Dave Price’s score and arrangement of 1950s hits. They add a wistful quality to this story of misplaced desires in a broken city and a broken country.

Lyn Gardner – The Guardian



There is a cracking sound score by Dave Price which ranges from ska to electronica and often has a touch of Chris Isaak and the Twin Peaks music about it.

Charles Spencer – The Telegraph


Around this strange, dystopian world, our hero, the boiler-suited Player 611, leaps and soars, pursued by monsters and tempted by faceless majorettes, while a mysterious DJ spins records “from out of the guts of angels”. We follow all this on headphones, each of us plugged into our own soundtrack. This is an inspired touch – Dave Price’s sound design plays ingenious sonic tricks, and the folky songs, performed by Gwyneth Herbert, are excellent.

Laura Barnett – The Observer

The score and music are particularly effective – the audience all turn collectively as we hear someone from behind, only to realise that this is the trippy effect of the clever sound production…So good isDave Price’s soundtrack that I wish the performance would end with a silent disco-esque finale. I’m still humming along a week later.

Lara Hayward –


The audience wears headphones, into which plays Dave Price’s brilliant soundscape, combining video-game sound effects with an eclectic mix of music that is often strange and always wonderful.

Lou Flaxman –



There is vibrant support from…a witty score by Dave Price based on themes from Wagner’s Tannhauser.

Michael Billington – The Guardian



There are moments of eerie delight as when the actors…start to tap softly on their respective planks and a flutter of sounds at different pitches gradually assembles into a syncopatedly seductive lullaby.

Paul Taylor – The Independent


The strangeness is heightened by the Dave Price score…of drips, scratchings and mystic rustlings.

Lyn Gardner – The Guardian


The overall magic of the production is perfectly complemented by composer Dave Price’s beautiful music.

Guide 2 Bristol



Original live music…by Dave Price…shivers spines, sets toes tapping, raises laughs or pricks tears.

Clare Brennan - The Observer



The monkish chants are beautifully composed by Dave Price…

Adrian Hilton – Spectator



Composer Dave Price drums up a spellbinding soundscape.

Domenic Cavendish – The Telegraph (2011 review)


There is terrific music, too, composed and performed by Dave Price, who plays everything from a violin to coat hangers and a kitchen sink.

Charles Spencer - The Telegraph (2010 review)

David Price’s music is also fantastically evocative – haunting, melodic and as uplifting as the production as a whole.

Ben Dowell – The Stage

The actors are supplemented by simple, minimalist design from Miss Still and Ann Fleischle that makes the most of this ultra-modern theatre’s facilities and the tireless efforts of composer, musical director and multitalented performer, Dave Price.

Philip Fisher - The British Theatre Guide

Still’s chimerical theatrical imagination is beautifully showcased by a bare white stage that transforms in the beat of an eyelash from the snowy wastes of the north to the Gothic chamber of the Beast via an ingenious use of props and the shivery, silvery images summoned up by Dave Price’s live percussion score.

Claire Allfree - Metro



The evening begins with a terrific racket as a wooden noise-maker is used to scare away the birds hovering in Dave Price’s excellent sound design.

Ian Shuttleworth - Financial Times

Dave Price’s soundscape is memorable, moving and deceptively simple. The sound design is a huge part of the reason the most playful and romantic moments of Fen linger long after the show. It transports the audience and creates the warmth and love so desperately needed by all in this play.

Naima Khan – Spoonfed



A triumph for the designer Ti Green, the lighting designer James Farncombe and the musician Dave Price.

Dominic Maxwell - The Times



Maybe the standout piece—certainly for humour—is Dave Price’s Lee’s Game, based on snatches of recorded speech from a Korean friend with whom Price communicates in a macaronic mix of English, Korean and Polish. By no means just funny, also touching, the piece is most obviously a commentary on the tripups that will happen—but also the leaps—when people run up to the edges of their linguistic boundaries. But since the players have to keep pace with the recorded voice, in timing and accentuation, this ten-minuter is also a virtuoso challenge, brilliantly answered here.

Paul Griffiths

Dave Price makes friendship with a Korean composer the basis of a journey through the “approximate infinity” of communication – ensemble played off against vocal samples to dizzying effect.

Richard Whitehouse - Gramaphone



Glorious percussion sequences – far bigger shows could learn from Gecko’s bold music and lighting – burst across the stage.

Susannah Clapp - The Observer


STRIKIN’ OUT (by Joe Cutler: UK Premiere at the inaugural BMIC Cutting Edge Series Concert)

…received a stunning performance by Dave Price, who made the instruments positively articulate.

Sara Cunningham - Classical Music Magazine