Press Reviews & Comments
Weaving everything together is David Gregory’s enveloping sound design, which gradually darkens as blood begins to spill.
Miriam Gillinson, The Guardian, King John RSC
David Gregory’s sound design powerfully evokes The Creature’s world. Thoughts of Frankenstein are first played by a tape recorder before we hear the sounds of the Creature coming to life, bones eerily cracking and what can only be assumed to be electrocution. In more optimistic moments the birds sing and the music offers The Creature excitement and child-like delight. However, his happiness is almost manic. Despite his size and appearance, he is also like a child in having no way of controlling his emotions.
B.L.Sherrington, Exeunt Magazine, Frankenstein
The show’s design is that it should resemble a traditional Syrian funeral; and for those who are willing to enter into that rhythm, and to the intense sorrow that drives it, Queens Of Syria offers an unforgettable experience, shaped by a light-touch score from David Gregory.
The Newsroom, The Scotsman, Queens of Syria
They are both a joy to watch, telling simple yet incredibly affecting stories with grace, intensity and humour. David Gregory's penetrating sound designs are also worth highlighting as is Elliot Grigg's clever lighting which relies mostly on one bright, centrally hanging lightbulb to illuminate an otherwise very dark, forest-edged stage.
Daisy Bowie-sell, Whats on stage, Blue Door
Leah Tozer, Broadway World, Blue Door
The production values, set and costume design (Jonathan Fensom), music (Anne Dudley), lighting (Charles Balfour), sound design (David Gregory) and direction (James Dacre) are all of the highest order, as befits a roll call like that. It looks sumptuous, sounds gorgeous and reveals its moderately niche Catholic narrative in a fascinating and gripping fashion.
Michael Davies. Whats on Stage, The Pope
Enhanced by the music of David Gregory's soundscape, and the tattered glamour of Lias' fairy costumes shimmering under Tom White's lighting, the angry encounter of Titania and Oberon is dangerously enchanting.
Judu Herman, Whats on Stage, A Midsummer Nights Dream
It is tautly directed by Eleanor Rhode alongside movement director Tom Jackson Greaves. With only a handful of props such as a mirror and bare lamp bulbs, the stage has been atmospherically lit by Lawrence T Doyle with an expressive soundscape designed by David Gregory.
Mark Ludman, British theatre.com, Frankenstein
A clever use of music and specific visuals turn the venerated work into a hip and cool production. Katie Lias designs dark and wooden sets that work perfectly on Wilton's multi-leveled stage; the holes in the run-down wall evoke death with the smokey projections contrived by Rhoades-Brown while David Gregory's sound design and Max Runham's musical direction invigorate the evergreen story.
Cindy Marcolina, Broadway World,Macbeth
An intriguing set (Katie Lias) on a multilevel stage includes moody, hazy projections (Rhoades-Brown), and combined with the energetic sound design (David Gregory), produces a sense of excitement fused with doom as the tragic narrative unfolds.
Catherine Sedgwick, The Upcoming, Macbeth
David Gregory’s sound design underscores the tension between the two lovers as the outside world comes to threaten their seclusion.
Richard Maguire, The Reviews hub, Rust
Gunfire, crashing grenades, and musical portions are melded into an evocative aural panorama by David Gregory’s highly skillful sound design. The accomplished musical compositions by Darren Clark are timelessly elegiac and also jauntily of the era.
Darryl Reilly, theatre scene, Our Friends the Enemy
Blood flows freely, and the body bags pile up. Special effects are utilised very cleverly, and, along with David Gregory’s excellent sound design, they create a very engrossing experience.
Kim Megson, The Chronicle, Richard III