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“Nick Sagar is in charge of sound and well done to him and choreographers Paul Chantry and Rae Piper for the perfectly timed movements when the characters are grabbing thingsIt is a well put together show and that can easily be seen through the sound. There was no lagging and the characters can be heard at all times”
Demon Dentist  / IMCR

“(it is) an invitation to raise your eyes towards the glassworks to enjoy the interaction of sound, light and space, three dimensions that have always underpinned the stage work of the artist-magician Bob Wilson” Gloria @ Sainte Chapelle, Paris

‘..with a fine, meditative soundscape by Nick Sagar, the idea of the need for political hope is viewed from many angles’
First Snow/Première Neige  / The Scotsman

‘Technically superlative’
Wayne McGregor’s ‘Autobiography’ / Evening Standard

‘How this came to be a work of dance performance is one of those rare miracles of creativity that you close your eyes and give thanks to the God you don’t believe in. Creative partnerships have long fascinated me, and when they come together to produce a work such as this, coming from such diverse strands of creativity… it’s just kind of really amazing.’
Wayne McGregor’s ‘Tree of Codes’ / Australian Stage

‘Technically impeccable, psychologically disturbing’
Letter To A Man / MadridEsTeatro

‘Throughout the collaboration of music, light, sound, design and text is exceptional…simply beautiful’
Life & Death of Marina Abramovic / The Guardian ****

“Chris Shutt and Nick Sagar’s sound design are also worthy of mention, conjuring brooding soundscapes and modern interpretations of courtly music which underscore the events unfolding on stage”
James Plays / Edinburgh Spotlight *****

“Outstanding design work helps create the impression of being inside a cohesive, immersive world. The frequent offstage sound of drumming (design by Christopher Shutt and Nick Sagar)”
James Plays / The Star (Canada) *****

“Throughout, the sound effects – those squelching brains, the sizzling of the stake – add to the appeal.”
Horrible Histories ‘Terrible Tudors at the Tower’ / Guardian

“…a sensational fusion of dance, light, music, sound, optical trickery and moving mirrors.”
Tree of Codes / What’sOnStage *****

“Sometimes five stars are not enough.”
Tree of Codes / The Independent *****

“The terrific creative team has set the bar high by working over the last two years to make a contemporary ballet that responds to a remarkable work.”
Tree of Codes / Manchester Evening News *****

“Technically, the production is a state-of-the art visual and acoustic treat, climaxing with an extraordinary illusional sequence where translucent mirror and lighting effects transform dancing bodies into a succession of fleeting blurry mirages.”
Tree of Codes / The Stage *****

“The choreography is challenging with superb lifts and clever counter-balancing. Credit also has to go to Rob Halliday’s lighting realisation and Nick Sagar’s sound design.”
Tree of Codes / Manchester Evening News *****

“The sound effects team does a lot of work here, helping to carry much of the humour along.”
More Best of Barmy Britain / Culture Whisper *****

“BSC’s multi-instrument playing cast intersperse their crystal-clear dialogue with music and haunting sound effects to keep its young (and old) audience spellbound”
Tom’s Midnight Garden / The Star

‘The collage-like portrait, a paean to a suffering artist, is exquisite to see and hear’
Life & Death of Marina Abramovic / The Times ****

‘…while an ominous soundtrack by Nick Sagar further adds to the agony of the heroine’s predicament’
A Doll’s House / The Times ***

‘…the incidental music, a moody sound-scape of muted and sustained chords, manages a perfect balance which adds to the production without ever intruding’
A Doll’s House / Edinburgh Evening Post ****

“..tremendously tense and urgent staging …backed by Nick Sagar’s fierce, simmering soundscape.
A Doll’s House / Scotsman ****

“The whole thing is lynch pinned together with sound designer Nick Sagar’s wonderful sound effects”
Horrible Histories ‘Invaders & Greeks’ / thepublicreviews.com ****

‘Nick Sagar provides the squelchiest and most vomit inducing sounds on the London Stage’
Horrible Histories ‘Barmy Britain’ / Daily Telegraph ****

“The sound designed by Nick Sagar was flawless, conjuring up objects and scenes with masterful timing”
Horrible Histories ‘Barmy Britain’ / ayoungertheatre.com

‘Sound effects, either in the choregraphed action or within the scripted dialogue, never miss a beat’
Horrible Histories ‘Tudors & Victorians’ / OneStopArts

“Featuring some of the most hilarious and disgusting sound effects ever to make contact with a child’s eardrums, the show delivers hilarity and hard-hitting historic facts in equal measure…”
Horrible Histories ‘Barmy Britain’ / Official London Theatre

‘The result is a gorgeous, riveting spectacle; a waking dream; a poem of light and sound, voice and movement, bodies and words’
Life & Death of Marina Abramovic / Stage & Cinema

‘…gorgeous to behold and, when music plays, mesmerizing to hear’
Life & Death of Marina Abramovic / Huffington Post

“Jak Poore’s compositions are wonderful and have an almost eerie quality which Nick Sagar’s sound design ensures is showcased well”
Tom’s Midnight Garden / Broadway World

“The back of the house sound design team are the most brilliant in the world and make it happen every night with loads of computers, wires, monitors, house sound, stage sound, headsets, musicians in the pit, musicians on stage, sound effects and electronic music cues that have to be spot on with the lighting and actors and really one has no idea just how easy everything could go down, but knock on wood… when it matters most these mofos bring it! failure is not an option. Sound designer Nick Sagar, sound design operator, Jon Clarence, and music supervisor, Dan Bora made everything sound sooo good. My boys! so good!”
Interview with Composer William Basinski / Headphone Commute”