AFTER THE ACT

Royal Court, Traverse Theatre, New Diorama

“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, 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, 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, The Stage

I CAN DIE TOO

Pitlochry Festival Theatre

“Brightly arranged by musical director Frew, they have the 1980s/90s pop feel of Cyndi Lauper, Britney Spears and Ultravox; a touch of torch song here, a slice of synth ballad there.” – Mark Fisher, The Guardian

“Alongside keys, there is a violin, cello and percussion; as the show progresses, electric guitars and a range of other instruments join the musical score. Frew, who is onstage throughout, is a fabulous musical director, dealing with changing rhythms, keys and styles in the varied score.” – Musical Theatre Review

CHARIOTS OF FIRE

Sheffield Crucible

“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.” – 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.” – British Theatre Guide

“Spectacular” – WhatsOnStage

“A hugely enjoyable production” – The Guardian

JOAN OF LEEDS

New Diorama Theatre

“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, The Guardian

THE CANARY AND THE CROW

Bush Theatre, Paines Plough Roundabout

“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, 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, A Younger Theatre

US AGAINST WHATEVER

“Frew’s score begins in Kurt Weill cabaret territory and explodes into numerous different styles.” – Nigel Smith, 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, 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