What makes TROY a unique show is a brilliant incorporation of music and song into the language of the play. With original composition by David Denyer, each actor-musician is armed with an instrument which they use for deadly poignancy. A violin ominous in tone is caressed like a child. A growling cello, when laid down, becomes a corpse. And a taunting accordion transforms into a set of gasping lungs. The fusion of these three instruments oscillates between melancholic cries in unison, deafening crescendos and intimate softness.
Philip Chennery, writing a review of TROY for Playstosee.com
Throughout, David Denyer’s musical score instils a somatic dread. Uncanny textures, resembling human groans or whispers, and dissonant tones create a ghastly melody to the rhythm of Cabal’s text.
Charles Conway, writing a review of Tejas Verdes for PerformanceReviewed.com
The real highlight is the original score paired with live water projections, which fits perfectly with the action on stage and hugely enhances the atmosphere.
Olly Jacques, writing a review of Inferno for ThreeWeeksEdinburgh.com
A special mention must be given to David Denyer, the composer, and his band. Music is as crucial to classical theatre as the chorus, and the compositions are sinisterly appropriate for the play.
Joseph Schofield, writing a review of Bacchae for TheatreBubble.com
The music has been especially composed for this staging by David Denyer (an outsider from the Royal College of Music). It's polished and haunting, worth every penny.
Sarah Blake, writing a review of Bacchae for PiTV
David Denyer's composition is a remarkably mature work, which is extremely well-crafted and beautifully orchestrated. It shows great promise for his future as a composer
John Anderson, conductor for the Leeds College of Music Symphony Orchestra, on Preludium for Orchestra.
Background video by Steven Denyer and David Denyer, experimental film "Eight", originally screened at the Royal College of Music Composition for Screen Showcase 2015