Jonathan Girling

What the Papers Say


The Jew of Malta (RSC):  ‘…and there is an impressive score from Jonathan Girling that embraces everything from klezmer music to brassy Turkish folk tunes.’ (The Guardian)

‘The music – sacred Christian songs or festive klezmer – played and sung live, is simply glorious.’ (The Stage)

‘[Justin] Audibert conjures up the factions brilliantly with the help of Jonathan Girling’s music and Lily Arnold’s design.’ (The Observer)

Anya (RSC): ‘the RSC commission was a most stunning musical experience and a compelling story told by Forbes Mason and Katy Stephens..spellbinding and moving.’

(RSC’s) The American Pilot: ‘a haunting musical score’ (Guardian); ‘bubbling, tingling music’ (The Independent).

The Kite Runner: ‘Croft has a hit on his hands..with the live, suspensful underscoring of a tabla player.’ (The Telegraph)

‘[The Kite Runner is] staged simply and beautifully, using projections on billowing sheets, the whistling of wind and an ever-present tabla player. These are the scenes that stay with you and it’s here that The Kite Runner really flies.’ (The Independent)

Margaret Catchpole: ‘Jonathan Girling’s score uses rough, contemporary songs blended with subtler, sadder atmospherics. A rough clever set evokes Suffolk sea and land and one final breathtaking moment…It does not underplay the darkness of the characters’ lives, and lets them develop.’ (The Times)

‘Head east into Suffolk for the rollicking Eastern Angles show Margaret Catchpole, a tale of 18th-century love and smuggling.’ (The Guardian)