The Guardian - Review of The Permanent Way (September 20th, 2019)
“It is the humanity of the piece that comes through most strongly in Alexander Lass’s production played in a subterranean space where we can hear the rumble of trains overhead."
WhatsOnStage - Review of The Permanent Way (September 20th, 2019)
"Rick Fisher and Roly Witherow (lighting and sound design respectively) make good use of what The Vaults provide."
The Stage - Review of When The Birds Come (August 20th, 2019)
“Alexander Lass' production plays out gracefully on Isabela Van Braeckel's simple set, with Roly Witherow's score a symphony of creaking, cracking ice and cawing geese."
The Times - Review of When The Birds Come (August 19th, 2019)
Both the soundscape (Roly Witherow) and minimal set (Isabella Van Braeckel) are crucial to giving us a sense of place
The Scotsman - Review of When The Birds Come (August 13th, 2019)
“Isabella Van Braekel’s minimal set, complemented by Roly Witherow’s soundscape, evokes a place of desolate beauty which is both threatened and threatening."
Horrorbuzz.com - Review of Into The Mud (November 23rd, 2016)
“The score, crafted by Roly Witherow, does an excellent job of complimenting the visuals, with delicate piano noodling building to thunderous drums accompanied by ominous whispers that heighten the drama of the pursuit."
Terrorweekend.com - Review of Into The Mud (September 1st, 2016)
“...nos encontramos con la magnífica música de Roly Witherow, recuerda vagamente a un cuento de hadas..."
Digital Filmmaker Magazine - Feature on Theatreland (Issue 36, June 2016)
“Roly Witherow was attached early on as the composer as his ability to encompass such a diverse range of compositional styles, maintaining a seamless flow between the different chapters of the film, has created a beautiful musical score for Theatreland."
Exit 6 Film Festival - Talking Head: Roly Witherow on the identity of music in film (April 28th, 2016)
"Roly Witherow (Balsa Wood , Gregor ) has a wealth of experience in creating music for film. He discusses with Exit 6 his thought-processes from conception to completion, as well as his delight at the changing attitude of the film-goer towards music in film."
Electric-Shadows - Interview with Mei Leng, writer of Safiyah Flies Across The Ocean (September 8th, 2015)
"But, what I could experience as new was the soundtrack. We’d gone through four composers and I’d never heard the full soundtrack until the very end. I love Roly Witherow’s music in the film, it’s so beautiful and poignant and adds emotion in subtle ways. I find it hard to describe how you’re going to move someone emotionally through music, but he did that."
TimeOut Edinburgh - Review of Giant Leap (August 19th, 2015)
"Alexander Lass's tight direction (coupled with sound designer Roly Witherow's archive recordings, which successfully keep the era alive during scene transitions) ensures no single performer has to carry the show for too long at a time. No one man is credited with crafting the final line, but the ensemble's words still resonate strongly for mankind."
Digital Filmmaker Magazine - Feature on Tea For Two (Issue 26, June 2015)
"Roly Witherow our composer, whose skills of encompassing multiple emotions within one ping of an instrument is beyond me"
Nowness - Review of Balsa Wood (September 13th, 2015)
"...a darkly funny family reunion...Lecchi remembers as a child being captivated by 'tinikling', a traditional Fipilino dance that involves the tapping and sliding of bamboo sticks, and which the characters perform at the end of the film."
Vice - Review of Gregor (September 30th, 2014)
"Hones in on a generational problem...Gregor is as funny and uplifting as a movie about being a total fuck-up can possibly be...a vastly superior movie to Zach Braff's latest."
Sickchirpse - Review of Gregor (September 2014)
"The Underground Indie movie of the year...a UK version of Girls"