Press

 

CYMBELINE

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 FUNFAIR

“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

 

THE ROOF

“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 – londondance.com

 

“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 – thepublicreviews.com

 

FROM MORNING TO MIDNIGHT

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

Michael Billington – The Guardian

 

A MIDSUMMER NIGHT’S DREAM

“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

 

RATS’ TALES

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

Clare Brennan - The Observer

 

MEASURE FOR MEASURE

“The monkish chants are beautifully composed by Dave Price…”

Adrian Hilton – Spectator

 

BEASTS AND BEAUTIES

“Comp0ser 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 SpencerThe 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 FisherThe 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 AllfreeMetro

 

FEN

“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 ShuttleworthFinancial 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

 

THE OVERCOAT

“…a triumph for the designer Ti Green, the lighting designer James Farncombe and the musician Dave Price.”

Dominic MaxwellThe Times

 

LEE’S GAME

“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 WhitehouseGramaphone

 

TAYLORS DUMMIES

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

Susannah ClappThe 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 CunninghamClassical Music Magazine