‘The music by Thomas Johnson was phenomenal. It was moving and mesmerising… So instrumental is this element to the show in setting mood and pace, it could almost be called one of the characters’. (Tir Na N-Og, Jamaica Observer).

 

‘Johnson, as both composer and performer, gives "Tir Na N-Og" a virtual magic carpet, unobtrusive but endlessly supportive, on which the journey is accomplished.’ (Tir Na N-Og, Irish Echo).

 

'An all-female ska band [music by Thomas Johnson]...are a constant delight' (Robin Hood, Lyn Gardner The Guardian).

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'Thomas Johnson's terrific, moody modern jazz score, played live on stage' (Ministry of Fear, Joyce Macmillan The Scotsman).

 

'It is worth going to this production for the music alone; you could shut your eyes and imagine you were in Ronnie Scott’s.’ (Ministry of Fear, Oxford Prospect).

 

‘Melting live harp music and songs composed by Thomas Johnson pile on the brooding sense of foreboding’. (The Owl Service, Lyn Gardner The Guardian).

 

‘An onstage musician conjuring Thomas Johnson’s wondrously evocative score from his cello...the great climax, when the whales arrive with their own weird, wild music, has an almost Ibsenite fervour’. (Why the Whales Came, Charles Spencer Daily Telegraph).

 

‘The icing on the cake of this production is a beautifully executed original musical score... Johnson’s subtle accompaniment further heightens the emotional punch of the narration, carrying the audience through a whirlwind of excitement, sorrow and finally the uplifting belief in human solidarity.’ (I Believe in Unicorns, The Reviews Hub).

 

‘Thomas Johnson's fine music has a tang of the Levant, both jaunty and melancholic.’ (Othello, Michael Coveney The Independent).

 

‘Pulsing and underlining action it builds and sustains the supernatural element.’ (Macbeth, The Stage).

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‘With Thomas Johnson’s lyrical compositions, which add sweetness and joy even as they help the show breathe…this “Hobbit” is ingenious and absorbingly beautiful’ (The Hobbit, Star Tribune).

 

‘Johnson’s sublime two-person score of piano, percussion, and reeds enters and recedes effortlessly throughout the play’ (The Hobbit, Minnesota Monthly).

 

'The musicians are a key presence throughout, as they provide the soundscape that is an essential component of the story’ (The Hobbit, Talkin’ Broadway).