Press :
“Stunning… full-on blasts of heavy guitar rock.” ‘All’s Well That Ends Well’ (RSC), Daily Telegraph, July 2013
“To a sly pastiche of Ravel’s Bolero, Titania leads off to bed her tethered assinine lover, ” ‘A Midsummer Night’s Dream’ (RSC), Spectator, August 2011
“Composer Keith Clouston's terrific score mixes strong dramatic underscoring with tuneful, folk-flavored English songs.” ‘The Winter’s Tale’ (RSC), www.backstage.com, July 2011
“Keith Clouston’s eerie Cage-like score contributes to the sense of tension and unease in Leontes’ palace.” ‘King Lear’ (RSC), WNYC Radio, New York, July 2011
'Leontes’s seething monologues are accompanied by eerie, high-pitched strains in Keith Clouston’s score that cannily evoke the warped perspective of a discomposed mind.' 'The Winter's Tale' (RSC), New York Times 25 July 2011
“Gorgeous African-style music from composer Keith Clouston grooving in the air.” ‘Arturo Ui’, www.roguesandvagabonds.co.uk, February 2008
“Keith Clouston’s thrilling score swirls together Arabic and contemporary sounds so that we feel the play’s connection with our war-torn world.” ‘Tamburlaine’, Times, November, 2005
“The composer Keith Clouston has ‘stretched’ a Lutheran hymn tune to include influences by Arvo Part and Philip Glass in what is now ‘a more dispassionate electronic score’.” ‘Paradise Lost’, Times, April 2004
“Keith Clouston’s music is like Erik Satie on speed.” ‘The Comedy of Errors’, Sunday Times, Oct 2003
“Keith Clouston’s score, with its Noh theatre mix of plaintive flutes and throbbing drums, transcends pastiche to achieve its own distinctive style.” ‘Coriolanus’, Guardian, November 2002
“The fine music, composed by Keith Clouston, draws on Albanian folk-songs, mixed with looped drones and voices, and is particularly suitable.” ‘Trojan Women’, Times Literary Supplement, Nov 1998
'Altogether, a more successful and persuasive approach to the problem of providing music for a modern production of Greek drama than any I remember hearing before.' M.L West, All Souls College, Oxford; author of 'Ancient Greek Music'
“To a sly pastiche of Ravel’s Bolero, Titania leads off to bed her tethered assinine lover, ” ‘A Midsummer Night’s Dream’ (RSC), Spectator, August 2011
“Composer Keith Clouston's terrific score mixes strong dramatic underscoring with tuneful, folk-flavored English songs.” ‘The Winter’s Tale’ (RSC), www.backstage.com, July 2011
“Keith Clouston’s eerie Cage-like score contributes to the sense of tension and unease in Leontes’ palace.” ‘King Lear’ (RSC), WNYC Radio, New York, July 2011
'Leontes’s seething monologues are accompanied by eerie, high-pitched strains in Keith Clouston’s score that cannily evoke the warped perspective of a discomposed mind.' 'The Winter's Tale' (RSC), New York Times 25 July 2011
“Gorgeous African-style music from composer Keith Clouston grooving in the air.” ‘Arturo Ui’, www.roguesandvagabonds.co.uk, February 2008
“Keith Clouston’s thrilling score swirls together Arabic and contemporary sounds so that we feel the play’s connection with our war-torn world.” ‘Tamburlaine’, Times, November, 2005
“The composer Keith Clouston has ‘stretched’ a Lutheran hymn tune to include influences by Arvo Part and Philip Glass in what is now ‘a more dispassionate electronic score’.” ‘Paradise Lost’, Times, April 2004
“Keith Clouston’s music is like Erik Satie on speed.” ‘The Comedy of Errors’, Sunday Times, Oct 2003
“Keith Clouston’s score, with its Noh theatre mix of plaintive flutes and throbbing drums, transcends pastiche to achieve its own distinctive style.” ‘Coriolanus’, Guardian, November 2002
“The fine music, composed by Keith Clouston, draws on Albanian folk-songs, mixed with looped drones and voices, and is particularly suitable.” ‘Trojan Women’, Times Literary Supplement, Nov 1998
'Altogether, a more successful and persuasive approach to the problem of providing music for a modern production of Greek drama than any I remember hearing before.' M.L West, All Souls College, Oxford; author of 'Ancient Greek Music'
