Reviews:
On The House, Linda Lohkee, Tempo by the Flying Fruit Fly Circus, Riverside Theatre Parramatta 2024
(...) Each tumble, jump, air, somersault and roll (to name a few) were set to music, and, thanks to Musical Director Ania Reynolds and Director Jake Silvestro, it was an impressive beginning to the show. (...) True to its name, Tempo, this show was all about combining music and movement together, so they complemented each other. (...)
(...) Each tumble, jump, air, somersault and roll (to name a few) were set to music, and, thanks to Musical Director Ania Reynolds and Director Jake Silvestro, it was an impressive beginning to the show. (...) True to its name, Tempo, this show was all about combining music and movement together, so they complemented each other. (...)
Theatre Matters, Karin Hodgkinson, Tempo By The Flying Fruit Fly Circus at Arts Centre Melbourne 2024
(...) I am particularly in awe of the musical director, Ania Reynolds, who Silvestro acknowledges as having taught all involved, about what live music and circus can do when brought together. (...)
(...) I am particularly in awe of the musical director, Ania Reynolds, who Silvestro acknowledges as having taught all involved, about what live music and circus can do when brought together. (...)
Arts Hub, George Dunford, Tempo By The Flying Fruit Fly Circus at Arts Centre Melbourne 2024
(...) Music connects Tempo and musical director Ania Reynolds’ score shrugs off the typical conductor’s classical playlist, embracing rhythmic pieces slapped out on chests or stomped by the feet of the performers themselves. As well as having polished circus skills, many of the cast are musicians, adding their instruments to the performance. Particularly playful is the squabble over a piano piece as each member of the cast cavorts past, slapping a key while others try to perform a serious composition. A clarinet accompanies the silk performance, an electric guitar duels with a juggler and the impression is of wildly talented cast relishing music and mayhem. (...)
(...) Music connects Tempo and musical director Ania Reynolds’ score shrugs off the typical conductor’s classical playlist, embracing rhythmic pieces slapped out on chests or stomped by the feet of the performers themselves. As well as having polished circus skills, many of the cast are musicians, adding their instruments to the performance. Particularly playful is the squabble over a piano piece as each member of the cast cavorts past, slapping a key while others try to perform a serious composition. A clarinet accompanies the silk performance, an electric guitar duels with a juggler and the impression is of wildly talented cast relishing music and mayhem. (...)
Dance Informa, Tamara Searle, Tempo By The Flying Fruit Fly Circus at Arts Centre Melbourne 2024
(...) With a title like Tempo, the score is going to be important. Composer Ania Reynolds has created an original score which is in large part also executed by the kids. As one performer takes the silks, or the ropes, another is accompanying on piano or clarinet. Captivating sequences of highly choreographed, highly skilled body percussion often transitioned into juggling or acro routines. (...) This is a treat not to be missed.
(...) With a title like Tempo, the score is going to be important. Composer Ania Reynolds has created an original score which is in large part also executed by the kids. As one performer takes the silks, or the ropes, another is accompanying on piano or clarinet. Captivating sequences of highly choreographed, highly skilled body percussion often transitioned into juggling or acro routines. (...) This is a treat not to be missed.
Arts Hub, Jessi Ryan, Gurr Era Op by Ghenoa Gela, Rising Festival 2024
(...) Ania Reynolds’ composition and sound design ricochet between field recordings and instrumentation. The roar of waves is haunting. (...)
(...) Ania Reynolds’ composition and sound design ricochet between field recordings and instrumentation. The roar of waves is haunting. (...)
That Show Blog, Tim Stackpool, Gurr Era Op by Ghenoa Gela, Sydney Festival 2024
(...) Technically, the soundtrack's rhythmic cadence serves as a heartbeat, guiding the audience through the emotional landscape laid bare onstage. It's a reminder that culture, like music, evolves while retaining its fundamental essence. (...)
(...) Technically, the soundtrack's rhythmic cadence serves as a heartbeat, guiding the audience through the emotional landscape laid bare onstage. It's a reminder that culture, like music, evolves while retaining its fundamental essence. (...)
Arts Hub, Richard Watts, 2022, Girls With Altitude By The Flying Fruit Fly Circus
(...) set to an evocative score by Ania Reynolds, there are moments of exquisite beauty in Girls with Altitude – such as a trapeze duet performed side-on to the audience – in which the technical aspects of the production fuse perfectly with the performers’ skills. (...)
(...) set to an evocative score by Ania Reynolds, there are moments of exquisite beauty in Girls with Altitude – such as a trapeze duet performed side-on to the audience – in which the technical aspects of the production fuse perfectly with the performers’ skills. (...)
Audience Feedback video for Audible Lockdown at the Experimental, Dance and Film Festival 2021.
Sydney Morning Herald, Nicole Precel, 2/9/2019, Beasts Of No Nation with Femi Kuti and The Public Opinion Afro Orchestra
(...) There were stunning displays of musicality throughout, with saxophone solos from Lachlan McLean and Ania Reynolds as well as bassists, trumpeters and percussionists. (...)
(...) There were stunning displays of musicality throughout, with saxophone solos from Lachlan McLean and Ania Reynolds as well as bassists, trumpeters and percussionists. (...)
Critical text by Victor Gorgulho (journalist and curator, Rio de Janeiro), Música de Coco, Despina, Rio de Janeiro 2019
(English translation) This City This Sound, a sound piece that Ania Reynolds presents in this edition of Senado Tomado, can be defined as a compendium of sounds, noises and voices collected around Rio de Janeiro, during the period of residence of the Australian artist at Despina. However, more than just a juxtaposition of these diverse elements, the architect work, in its subtlety and richness of details, is a true sound topography of the city. Thus, prosaic sounds are transmuted into melody; excerpts of conversations evoke interrupted urban narratives; noises make up sometimes gloomy and sometimes dreamlike atmospheres. Throughout its seventeen minutes duration, the city unfolds, reveals itself new: familiar and also strange, commonplace and always fascinating in itself.
(English translation) This City This Sound, a sound piece that Ania Reynolds presents in this edition of Senado Tomado, can be defined as a compendium of sounds, noises and voices collected around Rio de Janeiro, during the period of residence of the Australian artist at Despina. However, more than just a juxtaposition of these diverse elements, the architect work, in its subtlety and richness of details, is a true sound topography of the city. Thus, prosaic sounds are transmuted into melody; excerpts of conversations evoke interrupted urban narratives; noises make up sometimes gloomy and sometimes dreamlike atmospheres. Throughout its seventeen minutes duration, the city unfolds, reveals itself new: familiar and also strange, commonplace and always fascinating in itself.
The Music, Bryget Chrisfield, 24/11/2017, Queenscliff Music Festival, Yothu Yindi And The Treaty Project
(...) Reynolds is an absolute joy to watch, a wide smile spreading across her face as she contributes to delivering these important messages.(...)
(...) Reynolds is an absolute joy to watch, a wide smile spreading across her face as she contributes to delivering these important messages.(...)
Limelight Magazine, Jo Litson, 7/1/2018, Model Citizens Sydney 2018
(...) Under Music Director Ania Reynolds, the eclectic score has a driving energy but also includes gentler, more lyrical sections. (...)
(...) Under Music Director Ania Reynolds, the eclectic score has a driving energy but also includes gentler, more lyrical sections. (...)
On The Town, Lynden Jones, 6/1/2018, Model Citizens, Sydney 2018
(...) the band was fantastic. Ania Reynolds and Jeremy Hopkins plus one or two other musicians provided a non-stop soundtrack. Reynolds (...) jumped and bounced around as she delivered some high energy sound. (...)
(...) the band was fantastic. Ania Reynolds and Jeremy Hopkins plus one or two other musicians provided a non-stop soundtrack. Reynolds (...) jumped and bounced around as she delivered some high energy sound. (...)
Daily Telegraph, Elizabeth Fortescue, 8/1/2018, Model Citizens, Sydney 2018
(...)There were a couple of short but incredibly witty songs to keep the storyline spinning along in the right direction, and the driving beat and wild percussive vibe of the live musical accompaniment was brilliant (...)
(...)There were a couple of short but incredibly witty songs to keep the storyline spinning along in the right direction, and the driving beat and wild percussive vibe of the live musical accompaniment was brilliant (...)
The Conversation, 9/1/2018, John Burtt, Model Citizens, Sydney 2018
(...)The onstage action is well supported by the live music driven by Hopkins’s powerhouse percussion and musical director Ania Reynolds’s inventive keyboards (...)
(...)The onstage action is well supported by the live music driven by Hopkins’s powerhouse percussion and musical director Ania Reynolds’s inventive keyboards (...)
Theatre Now, 22/1/2018, Fiona Hallenan-Barker, My Urrwai, Sydney 2018
(...) Ania Reynolds’ sound design is also immaculate and achieves compression as well as oceanic openness in the small downstairs theatre. (...)
(...) Ania Reynolds’ sound design is also immaculate and achieves compression as well as oceanic openness in the small downstairs theatre. (...)
Canberra Critics' Circle, 22/1/2018, Frank McCone, My Urrwai, Sydney 2018
(...) Add in the strongly creative input of Michael Hankin and Ania Reynolds for the visual and sound landscape for Ghenoa’s journey, (...) for work which seems to me to be a new original and significant form (...)
(...) Add in the strongly creative input of Michael Hankin and Ania Reynolds for the visual and sound landscape for Ghenoa’s journey, (...) for work which seems to me to be a new original and significant form (...)
Herald Sun, Stephanie Glickman, 22/6/2017, Model Citizens, Melbourne 2017
(...) It's a cohesion that carries through to all aspects of the set, with the musicians (led by the amazing Ania Reynolds) housed in a sharply-angled platform upstage but still free to mingle into the physicality. (...)
(...) It's a cohesion that carries through to all aspects of the set, with the musicians (led by the amazing Ania Reynolds) housed in a sharply-angled platform upstage but still free to mingle into the physicality. (...)
Arts Hub, Richard Watts, 27/6/2017, Model Citizens, Melbourne 2017
(...) The band, led by Ania Reynolds, is in fine form, switching effortlessly from ethereal Dead Can Dance-style ambience to rambunctious fun. (...)
(...) The band, led by Ania Reynolds, is in fine form, switching effortlessly from ethereal Dead Can Dance-style ambience to rambunctious fun. (...)
Theatre Press, Joana Simmons, 25/6/2017, Model Citizens, Melbourne 2017
(...) I could rave for days about the band. The original music by musical director Ania Reynolds had me tapping my feet and at the edge of my seat. (...) From synth to drums to guitar, bass saxophone and violin, the soundtrack united the show. (...)
(...) I could rave for days about the band. The original music by musical director Ania Reynolds had me tapping my feet and at the edge of my seat. (...) From synth to drums to guitar, bass saxophone and violin, the soundtrack united the show. (...)
My About Town, Myron My, 25/6/2017, Model Citizens, Melbourne 2017
(...) Music is an integral part to any Circus Oz show and musical director Ania Reynolds has created some incredible musical moments that heighten the drama and the intensity of the acts (...)
(...) Music is an integral part to any Circus Oz show and musical director Ania Reynolds has created some incredible musical moments that heighten the drama and the intensity of the acts (...)
TAGG, Jessi Lewis, 24/6/2017, Model Citizens, Melbourne 2017
(...) The Circus Oz musicians are at times joined or even taken over by electronic sounds, it further helps bind the performance as a whole and speaks directly to the contemporary nature of the performance. (...)
(...) The Circus Oz musicians are at times joined or even taken over by electronic sounds, it further helps bind the performance as a whole and speaks directly to the contemporary nature of the performance. (...)
The Music, Joel Lohman, 22/6/2017, Model Citizens, Melbourne 2017
(...) the live band is also thoroughly entertaining. The original soundtrack is impressively diverse, spanning several genres over the course of the night, always perfectly complementing and elevating what's happening onstage. (...)
(...) the live band is also thoroughly entertaining. The original soundtrack is impressively diverse, spanning several genres over the course of the night, always perfectly complementing and elevating what's happening onstage. (...)
Beat Magazine, Nick Mason, Model Citizens, Melbourne 2017
(...) credit must be also be given to the all-important house band, who heighten the action from the shadows, providing the perfect soundtrack to every segment of the show. (...)
(...) credit must be also be given to the all-important house band, who heighten the action from the shadows, providing the perfect soundtrack to every segment of the show. (...)
In Review, Jasmijn Van Houten, 26/6/2017, Model Citizens, Melbourne 2017
(...) The original music is performed live, and complements the stunts and action perfectly. (...)
(...) The original music is performed live, and complements the stunts and action perfectly. (...)
Scenestr., Rebecca Fawcett-Smith, 13/4/2017, Model Citizens, Brisbane 2017
(...) The live music soundtrack performed by Ania Reynolds and Jeremy Hopkins fit the performances like a glove. The rollicking surf rock number that accompanied the opening group tumbling act had all the frenetic energy of The B-52’s’ ‘Rock Lobster’, while the darker, moodier pieces had hallmarks of The Prodigy’s jarring buzzsaw synths. (...)
(...) The live music soundtrack performed by Ania Reynolds and Jeremy Hopkins fit the performances like a glove. The rollicking surf rock number that accompanied the opening group tumbling act had all the frenetic energy of The B-52’s’ ‘Rock Lobster’, while the darker, moodier pieces had hallmarks of The Prodigy’s jarring buzzsaw synths. (...)
Herald Sun, Stephanie Glickman, 17/6/2016, Twenty Sixteen, Melbourne 2016
(...) Music is at the forefront, with the entire cast opening the show in a marching-band style, surging forth with their rag tag, colourful costumes, eccentric hairstyles and swag of instruments.
It’s hard to believe there are only two full-time musicians — Ania Reynolds and Ben Hendry — in the ensemble; such is the rich and exuberant sound throughout the whole show. Traversing Latin, hard rock and percussive symphonies played on a sculptural collage of cymbals and triangles, it’s a moving, grooving feast. (...)
(...) Music is at the forefront, with the entire cast opening the show in a marching-band style, surging forth with their rag tag, colourful costumes, eccentric hairstyles and swag of instruments.
It’s hard to believe there are only two full-time musicians — Ania Reynolds and Ben Hendry — in the ensemble; such is the rich and exuberant sound throughout the whole show. Traversing Latin, hard rock and percussive symphonies played on a sculptural collage of cymbals and triangles, it’s a moving, grooving feast. (...)
Australian Stage Online, Jane Caraway, 18/6/2016
(....) The show opens with a rush of tumbling acrobatics, revolving around the incredibly talented musical director Ania Reynolds, who steadfastly sits in the centre of the surrounding craziness, playing a grand piano that has hopefully been reinforced to survive being used as the springboard it becomes. (....)Throughout it the band are a constant force, carrying the focus during set changes and providing excitement and emotion to support the acts. (...)
(....) The show opens with a rush of tumbling acrobatics, revolving around the incredibly talented musical director Ania Reynolds, who steadfastly sits in the centre of the surrounding craziness, playing a grand piano that has hopefully been reinforced to survive being used as the springboard it becomes. (....)Throughout it the band are a constant force, carrying the focus during set changes and providing excitement and emotion to support the acts. (...)
Stage Whispers, Lucy Graham, 18/6/2016
(...) And ah, the music. Always captivating: a conspiracy of sound in cahoots with the narrative. (...)
(...) And ah, the music. Always captivating: a conspiracy of sound in cahoots with the narrative. (...)
The Music, Belinda Healy, 19/6/2016
(...)All of this coupled with a brilliant musical score by Reynolds results in a highly entertaining and uniquely Australian show.(...)
(...)All of this coupled with a brilliant musical score by Reynolds results in a highly entertaining and uniquely Australian show.(...)
Theatre People, Ellen Burgin, 20/6/2016
(...) Another incredible aspect is the way the music is created, and the cues the band and musical director Ania Reynolds takes from the performers, to ensure the impact of the act and the beat of the music sync up perfectly. Cast members bounce in and out of the band, accompanied by strong percussion and synthesisers that can create a wide variety of settings and moods for each skit. (...)
(...) Another incredible aspect is the way the music is created, and the cues the band and musical director Ania Reynolds takes from the performers, to ensure the impact of the act and the beat of the music sync up perfectly. Cast members bounce in and out of the band, accompanied by strong percussion and synthesisers that can create a wide variety of settings and moods for each skit. (...)
Arts Review, Rohan Shearn, 24/6/2016
(...) while Ania Reynolds (musical director) on keyboards, and at times, bari-saxophone, with Ben Hendry on the drums, and support from the Circus Oz ensemble, provide a quirky musical backdrop that is fun and lively, that keeps the show moving along (...)
(...) while Ania Reynolds (musical director) on keyboards, and at times, bari-saxophone, with Ben Hendry on the drums, and support from the Circus Oz ensemble, provide a quirky musical backdrop that is fun and lively, that keeps the show moving along (...)
Stage Whispers, Peter Gotting, 5/1/2016
(….) In the background but often coming to the fore is music by the Circus Oz Band, compositions which integrate perfectly with the performances, adding tension and drama (….)
Theatre Press, Myron My, 20/6/2016
(….) Similarly the enchanting balletic unicycle act by Kyle Raftery and April Dawson was mesmerising and the accompanying music created an almost whimsical environment. In fact, all the music, led by Ben Hendry and Ania Reynolds, was the one consistently superb factor throughout the show. Each act’s musical soundtrack was perfectly suited to build the mood and the suspense, and change the tone as needed. (…)
Herald Sun, Stephanie Glickman, 15/12/2015
Close to the Bone is an apt name for this intimate Circus Oz offering in the Melba Spiegeltent.It has a totally different feel to the exaggerated larrikinism of their family shows. Artists-in-residence Jo-Ann Lancaster and Simon Yates favour stripping circus back to essential elements and are known for their unconventional bare-bones aesthetic when it comes to acrobatics. There’s a strong sense of that here, with the ensemble, dressed in various shades of grungy black forming a motley band (led by musical director Ania Reynolds). Amazingly, they attempt a plethora of serious and wacky instruments, most of which are suitably battered and old time. Even those without much musical prowess at least play shoes or rubber chicken drumsticks. It’s all very egalitarian and up close, albeit with a manic and dark energy (…..) Add in Stomp-esque sequences playing an orchestra of dilapidated metal objects and ensemble jostling with everyone trying to sabotage Reynolds and Kyle Raftery’s piano duo and there’s no shortage of mayhem. (...)
Theatre Press, Myron My, 15/12/2015
(…) There is a strong emphasis on music throughout Close To The Bone, which is led by the skillful Ania Reynolds and Ben Hendry. (…)
The Age, Chloe Smethurst, 2012
(…..) Live music features, with a highlight the wonderfully moody piano and percussion accompaniment by Ania Reynolds and Bec Matthews for Flip Kammerer’s straps routine.
(….) In the background but often coming to the fore is music by the Circus Oz Band, compositions which integrate perfectly with the performances, adding tension and drama (….)
Theatre Press, Myron My, 20/6/2016
(….) Similarly the enchanting balletic unicycle act by Kyle Raftery and April Dawson was mesmerising and the accompanying music created an almost whimsical environment. In fact, all the music, led by Ben Hendry and Ania Reynolds, was the one consistently superb factor throughout the show. Each act’s musical soundtrack was perfectly suited to build the mood and the suspense, and change the tone as needed. (…)
Herald Sun, Stephanie Glickman, 15/12/2015
Close to the Bone is an apt name for this intimate Circus Oz offering in the Melba Spiegeltent.It has a totally different feel to the exaggerated larrikinism of their family shows. Artists-in-residence Jo-Ann Lancaster and Simon Yates favour stripping circus back to essential elements and are known for their unconventional bare-bones aesthetic when it comes to acrobatics. There’s a strong sense of that here, with the ensemble, dressed in various shades of grungy black forming a motley band (led by musical director Ania Reynolds). Amazingly, they attempt a plethora of serious and wacky instruments, most of which are suitably battered and old time. Even those without much musical prowess at least play shoes or rubber chicken drumsticks. It’s all very egalitarian and up close, albeit with a manic and dark energy (…..) Add in Stomp-esque sequences playing an orchestra of dilapidated metal objects and ensemble jostling with everyone trying to sabotage Reynolds and Kyle Raftery’s piano duo and there’s no shortage of mayhem. (...)
Theatre Press, Myron My, 15/12/2015
(…) There is a strong emphasis on music throughout Close To The Bone, which is led by the skillful Ania Reynolds and Ben Hendry. (…)
The Age, Chloe Smethurst, 2012
(…..) Live music features, with a highlight the wonderfully moody piano and percussion accompaniment by Ania Reynolds and Bec Matthews for Flip Kammerer’s straps routine.
Awards
2021 - Audible Lockdown - Best Short Film at the Experimental, Dance and Music Festival Toronto
2021 - Audible Lockdown - Honorable Mention for Best Experimental Short at the Prague International Indie Film Festival
2019 - Helpmann Award for Best Presentation for Children and Young People - Robot Song, Arena Theatre Company
Ania created the sound design for Robot Song and produced the touring show soundtrack.
Ania created the sound design for Robot Song and produced the touring show soundtrack.
2016 - Keir Choreographic Award won by Ghenoa Gela for Fragments of Malungoka.
Ania composed the score to Ghenoa Gela's dance work Fragments Of Malungoka, commissioned for the 2016 Keir Choreographic Award. The work won both the Keir Choreographic Award and People's Choice Award.
2011 - Green Room Award For Best Musical Direction In Cabaret - Yana Alana And Tha Paranas In Concert
Ania composed the score to Ghenoa Gela's dance work Fragments Of Malungoka, commissioned for the 2016 Keir Choreographic Award. The work won both the Keir Choreographic Award and People's Choice Award.
2011 - Green Room Award For Best Musical Direction In Cabaret - Yana Alana And Tha Paranas In Concert