‘...backed by Sarah Spencer’s impressive, brooding soundscape’ - The Scotsman

“Sarah Spencer underscores everything with an ominous, surging soundscape. Everything unfolds with swift, slippery style.’- The Stage, Fergus Morgan

“A weighty and emotive soundscape by sound designer and composer Sarah Spencer underscores from beginning to end, creating a solemn and, at tmes, deeply moving atmosphere of doubt and mistrust, building as the brothers’ trust in their version of events starts to unravel.” - Binge Fringe

“The sound design adds a sense of epic grandeur that somehow still feels like it belongs to the world of visual art.” - Luvvi With A RollerBoard

“The rumbling dramatic score by Sarah Spencer and the extreme light and dark contrast in the lighting by Ed Saunders support the righteous wrongness of the two brothers as they reenact their downfall.” -Theatre weekly

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“Sarah Spencer’s soundscape keeps everything tightly wound underneath, humming like a well-oiled episode of Succession.” — North West End UK

“Sarah Spencer’s sound and score quietly elevate each scene, conjuring anxious workers or furious strikers with precision, and tightening the tension without drawing attention to itself.” — The Spy in the Stalls

“Sarah Spencer’s slow, insistent drumbeat sound design adds tension.” — The Reviews Hub

“Josh Gadsby’s lighting design and Sarah Spencer’s sound design worked beautifully together to keep the tension high and the audience raptly focused on the action on stage.” — Theatre & Tonic

“Sarah Spencer’s sound design reinforces this realism, with house and electronic music drifting in and out from upstairs as tensions between the two ex-friends escalate.” — Everything Theatre

“Sarah Spencer’s sound design – much of it muffled, thumping techno – pulses beneath the dialogue.” — London Pub Theatres

“Sarah Spencer’s sound and Catja Hamilton’s lighting work in harmony to place the audience firmly in the room with Katie and Roni. The muffled party noise outside feels entirely believable, ebbing and flowing with subtlety to create moments of quiet tension.” — All That Dazzles

“Sarah Spencer’s sound design is also incredibly effective, capturing the thrumming distant noise of an offstage party that adds a heartbeat to the production.” — West End Best Friend

“Sarah Spencer’s sound design… a bedside radio that can be flicked in… rumbles faintly above or authentically blares so much it drowns out words before being shut off.” — View From The Gods

“...sound designer Sarah Spencer’s evocative soundscape, which whispers, creaks and scrapes along with the narrator’s storytelling before swelling up to a screeching intensity as her fantasies reach fever pitch. — London Pub Theatre Magazine

“Sarah Spencer’s sound design is integral to the play’s impact.” — The Reviews Hub

‘Sarah Spencer’s sound design provides an atmospheric soundtrack, almost ominous at times and elevating the mood with a use of music adding to the versatility of Looking For Giants.’ - All That Dazzles

“Sound design by Sarah Spencer brings texture and atmosphere in all the right places, adding depth without drawing attention to itself...  beautifully balanced sound design” — All That Dazzles

“Effective and subtle use of lighting and contemporary sound by respectively Ros Chase and Sarah Spencer brilliantly convey the emotive, sensory impact on NHS nurses who work crushingly long hours in a system stretched paper-thin.” — The Reviews Hub

“Both lighting designer Oliver McNally and sound designer Sarah Spencer do an incredible job.” — London Theatre Reviews

“Sarah Spencer’s evocative composition” — All That Dazzles

“…together with Sarah Spencer’s supple score, the production acquires an atmosphere that flits between lecture hall and liminal haunt.” — Broadway Baby

“Howlett also directs the piece, creating staging that feels hypnotic in its very nature, as aided by Sarah Spencer’s evocative composition.” — All That Dazzles

“Both the lighting and the sound design in this production were superb.” — Pink Prince Theatre

“Striking sound design from Sarah Spencer.” — The Stage (Fergus Morgan)

“The whole completed by striking sound design by Sarah Spencer, that punctuate each episode, guiding the audience through the rapid-fire transitions.” - Fringe Review

“The performances from the three actors are charming and energetic, and the pianist is the unsung hero of the production – when she isn’t bashing out another tune on the keys, she’s conjuring up a train journey with only a snare drum.” - The Skinny  

“‘For me, the highlight of the show lay in the musical interludes composed by Sarah Spencer, which were wistful and gorgeous, complemented by the sounds of starlings.’” — Oxford Opening Night

“Sound-tracked by an astonishing score composed in its entirety by Sarah Spencer, action feels perpetually on the edge of breakdown.” — Cherwell

'The drama began with a burst of choreographed dance… performed to Sarah Spencer's mysterious, atonal electronic music (later just drums and bass, and then solo harp; ever perfectly tuned to mood and word). '  - Daily Info