AFTER THE ACT

“Frew’s fabulous electronica sends us back to a 1980’s synthesised clubland… this musical feels exceptional.” – Arifa Akbar on AFTER THE ACT, The Guardian

“Streams of verbatim lyrics are squashed into dancy, synthy, driving music by mono-named composer Frew who stands on a raised platform at a keyboard, like Chris Lowe from Pet Shop Boys. Often the songs sound like the score to some amazing ’80s action movie.” – Tim Bano on AFTER THE ACT, Time Out

“The script is a potent blend of sharp satire and harrowing tragedy, while the musical element (composed by Frew, with sound design from Owen Crouch) features heartfelt lyrics and rich harmonies, played against a euphoric soundscape of 80s synth chords.” – Nick Ferris on AFTER THE ACT, The Telegraph

“Composer and musical director, Frew fives the 1980s-set first hald a propulsive, electro-synth backdrop, as Section 28 comes malignantly into being while evoking bands such as Underworld as the show moves into the 1990s and explores the law’s impact. The music captures a freneticism… The songs are less nearly formed numbers and more outbursts of feeling in sadness, hatred or anger.” – Tom Wicker on AFTER THE ACT, The Stage

CHARIOTS OF FIRE

“They almost manage to hit the finishing line too without deploying the Vangelis soundtrack so synonymous with the film’s success. It says so much about the show’s vivacity that when it eventually broke out in the final scene in press night, so did the cheers.” – CHARIOTS OF FIRE, The Times

“The production is immensely enriched by the use of music. Music accompanying physical action is reminiscent of the film score, rich and triumphalist.” – CHARIOTS OF FIRE, British Theatre Guide

“Spectacular” – CHARIOTS OF FIRE, WhatsOnStage

“A hugely enjoyable production” – CHARIOTS OF FIRE, The Guardian

JOAN OF LEEDS

“Owen Coruch’s sound and Frew’s music bend time and genre, with the blend of live and recorded music shifting from velvet latin chants to pulsing techno.” – Kate Wyver on JOAN OF LEEDS, The Guardian

THE CANARY AND THE CROW

“The musicianship is superb. The score beautifully reflects the internal conflict felt by Ward as he is othered by his new class-mates ad then accepted as he becomes whitewashed.” – Lyn Gardener on THE CANARY AND THE CROW, Stage Door

“The partnership of James Frewer and Prex 96 is incomparable. The score serves the story, there can be no doubt, and it lacks the stagnancy that so often weighs down writing of music for theatre. It is contemporary and thrilling to watch. The audience move like the crowd at Glastonbury; we do not sit in quiet contemplation.” – Hannah Dobson on THE CANARY AND THE CROW, A Younger Theatre

US AGAINST WHATEVER

“Frew’s score begins in Kurt Weill cabaret territory and explodes into numerous different styles.” – Nigel Smith on US AGAINST WHATEVER, The Stage

“It is Frew’s score that ties all of this together. The use of music awakens emotion, it echoes in our minds even as we leave the theatre.” – Hannah Dobson on US AGAINST WHATEVER, A Younger Theatre

ARTICLES

‘It stole years’: the musical about those silenced by anti-gay law Section 28

Guardian Feature on AFTER THE ACT

What if a gig comes to the theatre? The Weekend Rockstars experiment

Guardian Feature on WEEKEND ROCKSTARS