Keeping continuity between the ten scenes is always going to be a challenge and here the production offers an inventive and perfect answer. Incidental music is not, in itself, an original device but when modern day love songs are re-jigged to reflect the music of the era being portrayed, it is simply a stroke of genius – Dan Bottomley’s work here offers a considerable touch of class to the proceedings.
A Skull In Connemara
The mood was set with an almost constant murmur from background sound effects: clocks ticking for the indoor scenes, the sound of seagulls and hooting owls for the action taking
place outdoors. Incidental music for the scene changes was beautiful in the shape of well-crafted bursts of folky Irish
strings and pipes.
Theatre Reviews North
Katie Scott’s simple but extremely effective set moves effortlessly from the interior of Mick’s run down cottage to the bleak, chilly, soil split graveyard and combined with Stewart Bartles subdued lighting and Dan Bottomley’s haunting soundtrack provides the perfect backdrop for this impressive production.
The Reviews Hub
Beneath the sound of the wind and the waves, birds call out and a clock can be heard insistently ticking. The music between scenes is by turns melodic and discordant...
Chris Lawson’s pitch perfect production is atmospheric and absorbing.
Circles and Stalls
A Dickensian Christmas
'Technically this is also a triumph of atmosphere and effects created without a huge rig, but with the knowhow to utilise the facilities at hand brilliantly well. Full praise for the sound and music of Dan Bottomley.'
Grimms' Fairy Tales
‘The company have great ambition…sharp-witted lyrics…a very funny, and unexpected, punchline’
Spy In The Stalls
'Bottomley’s fine sound design breaks up each sequence with muscular bursts of rock music and lingering electronic squeals. Through it all, a quiet cacophony of screeching foxes keeps bleeding in, keeping the atmosphere tense'
'special mention should go to Sound Designer Dan Bottomley. There’s a lot going on sound-wise with broadcast mics, internal mics, telephones, people calling in, commercials being played in the background and Bottomley has got it all working to perfection. It’s incredibly complicated but this is one of the best examples of first-class sound design I’ve heard in a small theatre for a long, long time.'
'There are two more stars in Sean Turner’s production: Max Dorey’s set...and Dan Bottomley’s sound design. Not surprisingly, the script calls for a lot of interaction between Barry and the recorded voices of his many callers, and this works seamlessly throughout – it’s easy to believe you’re watching an actual radio show being recorded.'
The Blog Of Theatre Things
'Bottomley’s smart, efficient sound design of multiple types of microphone, incoming calls and commercial sponsors is realistic, clear and evocative.'
British Theatre Guide
The House of Usher
'Bottomley's score is to be praised for variety and atmosphere.'
'Delights and exhilarates! For a night of spooks that will haunt you for days, go see this musical.'
Ginger Wig and Strolling Man
Peter and the Wolf
'musical theatre for children at its finest'
'lively music, catchy songs...unmissable childrens theatre'
The Peg Review
'clever and intricately woven sound'
Beautiful Little Fools
'The team use movement, music and jarring soundscapes to motivate the piece, and it’s effective – creating a very ‘Handmaid’s Tale’ feel to the piece.'
'excellent use of movement and sound...the voice of ‘Big Brother’ is especially effective'
Sue in the Stalls
'A brilliant, stripped back, sound design gave the visceral sensation of being at sea.'
London Pub Theatres
'Music was also used extremely effectively throughout... Dan Bottomley and Ben Bland's compositions were not only far more stylistically appropriate, but were integrated subtly into the action.'