Praise for In Her Eyes
The haunting a capella voice of Ellen Timothy, who plays the narrator in this surprisingly thought-provoking musical, soon rose above the transfixed audience. The music was always going to be great – In Her Eyes was written by the very same Toby Huelin of Theory of Justice success, but what I hadn’t counted on was an added depth and sensitivity of this second work of art. Without giving too much away, what describes itself as a “dark musical without the jazz hands”, is more like an opera that soars and plunges between euphoric ballads, catchy tunes, and aggressively clashing melodies…
…Following the rise and fall of a tragedy, this musical builds to a mingling interweaving climax of harmonies between chorus, mother, narrator and protagonist, and then ends in the only prolonged speech of the play, and a blackout. The moments of stunned silence before the applause were concrete proof of the success of the evening…
Georgina Wilson, Cherwell
A riveting and moving start to the drama season…The perfect antidote to all-dancing, foot-stomping jazz hands shows we are used to associating with musicals, not only just showcasing genuine vocal talent in a medium that isn’t a cappella, but offering a genuinely provocative, moving, and at times disturbing story.
Eleanor Shaw, The Tab
The music helps to lift the subject matter into a space where it can be considered without feeling compelled to shut it out…I would be interested to see In Her Eyes – the Extended Version – were it ever to find a longer runtime!…The music is well-crafted…the 3-piece band (though with the addition of the cello it felt much more like a miniature orchestra) accompanied famously… It feels like a privilege to be allowed to watch people who are discovering what they are capable of (which I find constantly amazing) and what they might be able to do next.
Patrick Vale, Daily Info
Praise for A Theory of Justice: The Musical!
What was especially impressive about this production was that it was a piece of new writing. Adapting anything to stage is hard enough but when the subject matter is dense, esoteric, political philosophy then it’s all the more impressive that it proved mostly understandable and absolutely hilarious.
…[the] music is similarly superb, varying in tone and style for each number and lending a dynamic thrust and energy to the proceedings in the manner of the best show tunes…toe-tappingly marvellous…
Robert Holtom and Gavin Elias, Oxford Theatre Review
…brilliant: hilarious, witty, and profound… I cried with laughter for most of two hours.
Nigel Warburton, Virtual Philosopher
The major triumph of the play is that it is accessible to all audience members. The great conceptual breakthroughs of philosophy are not dumbed down for the general public, nor are they discussed in great detail for the enjoyment of those with a better understanding of political philosophy…All the way back from the Keble O’Reilly It was possible to hear people discussing their opinions on the different theories portrayed in the show.
…both entertaining and educational, a truly remarkable musical. You would be a fool to miss it.
Chloe Bond, Cherwell
This is what the Edinburgh Fringe should be like…This isn’t dry, studious humour, but philosophy with a smile on its face, doing the conga through history. If you’ve ever thought I’d like more singing with my philosophy this one’s for you.
Musical highlights are many, and vary from a sassy portrayal of Socrates and Plato in ancient Greece to an impressive sing-and-dance off between the gangs of Thomas Hobbes and John Locke in the State of Nature…the cast and crew of A Theory of Justice: The Musical! have managed to leave the audience not only entertained but also with a deeper understanding of the ideas and thoughts that have helped shape the society in which we all live.
Lene Korseberg, Broadway Baby