Press

After Party

Winner of the Buxton Fringe 2015 New Writing Award.

***** “This was a truly delightful show, and it’s such a shame it was a one off. I wish you all could have seen it.”

Stephen Walker, Fringe Guru (read the full review here)

“The performers were four outrageously talented individuals….this was a truly flawless production.”

Rufus McAllister, Buxton Fringe (read the full review here)

“The acoustics of the room cradle the sounds of harp (played by Eloise Irving), horn (Oskar McCarthy and Rebecca Lea), piano (Jonathan Ainscough and Rebecca Lea) and most impressively, voice (each member of the cast delivers a fine vocal performance).”

Martin Thomasson, British Theatre Guide

**** “Re:Sound manage to bring the ghosts of Viennese past alive and before our very eyes in style, all amongst the hustle and bustle of a modern English pub.”

Laura Cress, Broadway Baby (read the full review here)

Battles Within and Without

Steve Jackson, Sounds of the Engine House

Click here for the full review.

Re:Sound are performing carefully considered, engaging repertoire to an exceptional standard and deserve a far larger platform.

SOAP The Wedding Stravinsky

SOAP – Life in Salford, November 2010

www.katherine-wilde.blogspot.com

La Voix Humaine Poulenc
Le Gâteau d’Anniversaire Tim Benjamin

The Rambler Review of La Voix Humaine at the Purcell Room, 23rd Sep 2010
Click here for the full review here by Tim Rutherford-Johnson

I’m ashamed to admit that I didn’t know Poulenc’s La voix humaine before this evening, but Rebecca Lea’s quite stunning performance has made me desperate to see it again as soon as possible.
The brilliant dramatic hook is that the conversation is conducted by phone: we only see and hear the woman’s side of things. She, by turns, is simpering, kittenish, enraged, desperate and pleading. It’s an exhaustingly rich role, portrayed by Lea brilliantly and without let-up.

Review of La Voix Humaine by Simon Cummings
Click here for the full review

The success or failure of La Voix Humaine rests almost entirely on the shoulders of the solo soprano, & Rebecca Lea (who also directed both operas) gave what i can only describe as one of the finest performances i’ve ever witnessed on stage • Hers was no mere act; she had fully become the character of Elle, & i found myself completely drawn into her claustrophobic world.

At the work’s culmination, the conversation—& with it, everything else—brought to an end, i couldn’t help but share Lea’s devastation & tears; it was a simply astounding performance.

Flat Pack: An Opera in IKEA Tom Lane

Time Out, June 4 – 10 2009

Time Out