Press

‘Technically impeccable, psychologically disturbing’
Letter To A Man / MadridEsTeatro

‘Throughout the collaboration of music, light, sound, design and text is exceptional…simply beautiful’
Life & Death of Marina Abramovic / The Guardian ****

“Chris Shutt and Nick Sagar’s sound design are also worthy of mention, conjuring brooding soundscapes and modern interpretations of courtly music which underscore the events unfolding on stage”
James Plays / Edinburgh Spotlight *****

“…a sensational fusion of dance, light, music, sound, optical trickery and moving mirrors.”
Tree of Codes / What’sOnStage *****

“Sometimes five stars are not enough.”
Tree of Codes / The Independent *****

“The terrific creative team has set the bar high by working over the last two years to make a contemporary ballet that responds to a remarkable work.”
Tree of Codes / Manchester Evening News *****

“Technically, the production is a state-of-the art visual and acoustic treat, climaxing with an extraordinary illusional sequence where translucent mirror and lighting effects transform dancing bodies into a succession of fleeting blurry mirages.”
Tree of Codes / The Stage *****

“The choreography is challenging with superb lifts and clever counter-balancing. Credit also has to go to Rob Halliday’s lighting realisation and Nick Sagar’s sound design.”
Tree of Codes / Manchester Evening News *****

“BSC’s multi-instrument playing cast intersperse their crystal-clear dialogue with music and haunting sound effects to keep its young (and old) audience spellbound”
Tom’s Midnight Garden / The Star

‘The collage-like portrait, a paean to a suffering artist, is exquisite to see and hear’
Life & Death of Marina Abramovic / The Times ****

‘…while an ominous soundtrack by Nick Sagar further adds to the agony of the heroine’s predicament’
A Doll’s House / The Times ***

‘…the incidental music, a moody sound-scape of muted and sustained chords, manages a perfect balance which adds to the production without ever intruding’
A Doll’s House / Edinburgh Evening Post ****

“..tremendously tense and urgent staging …backed by Nick Sagar’s fierce, simmering soundscape.
A Doll’s House / Scotsman ****

“The whole thing is lynch pinned together with sound designer Nick Sagar’s wonderful sound effects”
Horrible Histories ‘Invaders & Greeks’ / thepublicreviews.com ****

‘Nick Sagar provides the squelchiest and most vomit inducing sounds on the London Stage’
Horrible Histories ‘Barmy Britain’ / Daily Telegraph ****

“The sound designed by Nick Sagar was flawless, conjuring up objects and scenes with masterful timing”
Horrible Histories ‘Barmy Britain’ / ayoungertheatre.com

‘Sound effects, either in the choregraphed action or within the scripted dialogue, never miss a beat’
Horrible Histories ‘Tudors & Victorians’ / OneStopArts

“Featuring some of the most hilarious and disgusting sound effects ever to make contact with a child’s eardrums, the show delivers hilarity and hard-hitting historic facts in equal measure…”
Horrible Histories ‘Barmy Britain’ / Official London Theatre

‘The result is a gorgeous, riveting spectacle; a waking dream; a poem of light and sound, voice and movement, bodies and words’
Life & Death of Marina Abramovic / Stage & Cinema

‘…gorgeous to behold and, when music plays, mesmerizing to hear’
Life & Death of Marina Abramovic / Huffington Post

“Jak Poore’s compositions are wonderful and have an almost eerie quality which Nick Sagar’s sound design ensures is showcased well”
Tom’s Midnight Garden / Broadway World

“The back of the house sound design team are the most brilliant in the world and make it happen every night with loads of computers, wires, monitors, house sound, stage sound, headsets, musicians in the pit, musicians on stage, sound effects and electronic music cues that have to be spot on with the lighting and actors and really one has no idea just how easy everything could go down, but knock on wood… when it matters most these mofos bring it! failure is not an option. Sound designer Nick Sagar, sound design operator, Jon Clarence, and music supervisor, Dan Bora made everything sound sooo good. My boys! so good!”
Interview with Composer William Basinski / Headphone Commute