(282,1,'2012-01-20 19:26:51','2012-01-20 19:26:51','<a href=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\"><img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" /></a>\r\n\r\nEthan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.\r\n\r\nMaltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. 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He writes music for TV, Theatre, Cinema and the Concert Hall.\r\n\r\nMaltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).\r\n\r\nIn 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.\r\n\r\nMaltby\'s latest theatrical show \'DrumChasers\' toured the UK in 2011 with narration by Stephen Fry and received many favourable reviews. 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He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n\r\n<p style=\"line-height:2;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. 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He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n\r\n<p style=\"line-height:2;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. 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He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n\r\n<p style=\"line-height:2;text-align:justify;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. 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He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n<p style=\"line-height: 1.5; text-align: justify;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.</p>\r\n<p style=\"line-height: 1.5; text-align: justify;\">Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.</p>\r\n<p style=\"line-height: 1.5; text-align: justify;\">Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.</p>','About','','inherit','closed','open','','25-revision-18','','','2012-02-05 14:35:24','2012-02-05 14:35:24','',25,'http://www.ethanlewismaltby.com/Home/25-revision-18/',0,'revision','',0),(300,1,'2012-02-05 14:39:13','2012-02-05 14:39:13','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"line-height: 1.5; text-align: justify; font-size:13px;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.</p>\r\n<p style=\"line-height: 1.5; text-align: justify; font-size:13px;\">Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n<p style=\"line-height: 1.5; text-align: justify; font-size:13px;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.</p>\r\n<p style=\"line-height: 1.5; text-align: justify; font-size:13px;\">Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.</p>\r\n<p style=\"line-height: 1.5; text-align: justify; font-size:13px;\">Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.</p>','About','','inherit','closed','open','','25-revision-19','','','2012-02-05 14:39:13','2012-02-05 14:39:13','',25,'http://www.ethanlewismaltby.com/Home/25-revision-19/',0,'revision','',0),(301,1,'2012-02-05 14:40:53','2012-02-05 14:40:53','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"line-height: 1.6; text-align: justify; font-size:13px;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size:13px;\">Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size:13px;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the player\'s walk-on anthem for all major FA games.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size:13px;\">Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received many favourable reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size:13px;\">Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.</p>','About','','inherit','closed','open','','25-revision-20','','','2012-02-05 14:40:53','2012-02-05 14:40:53','',25,'http://www.ethanlewismaltby.com/Home/25-revision-20/',0,'revision','',0),(302,1,'2012-01-23 20:28:56','2012-01-23 20:28:56','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','\"While paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability...\"','inherit','closed','open','','225-revision-2','','','2012-01-23 20:28:56','2012-01-23 20:28:56','',225,'http://www.ethanlewismaltby.com/Home/225-revision-2/',0,'revision','',0),(304,1,'2012-01-23 20:26:06','2012-01-23 20:26:06','Touring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','\"Ethan Lewis Maltby\'s score is beautifully written.\"','inherit','closed','open','','188-revision-7','','','2012-01-23 20:26:06','2012-01-23 20:26:06','',188,'http://www.ethanlewismaltby.com/Home/188-revision-7/',0,'revision','',0),(303,1,'2012-02-06 14:02:00','2012-02-06 14:02:00','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','\"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\"','inherit','closed','open','','225-revision-3','','','2012-02-06 14:02:00','2012-02-06 14:02:00','',225,'http://www.ethanlewismaltby.com/Home/225-revision-3/',0,'revision','',0),(305,1,'2012-01-23 20:21:18','2012-01-23 20:21:18','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\n&nbsp;\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\n&nbsp;\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\n&nbsp;\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n&nbsp;\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\n&nbsp;\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\n&nbsp;\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\n&nbsp;\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\n&nbsp;\r\n\r\nGreat fun!','Great British Theatre','\"Very entertaining...\"','inherit','closed','open','','184-revision-3','','','2012-01-23 20:21:18','2012-01-23 20:21:18','',184,'http://www.ethanlewismaltby.com/Home/184-revision-3/',0,'revision','',0),(443,1,'2012-01-23 20:23:07','2012-01-23 20:23:07','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\n&nbsp;\r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\n&nbsp;\r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.','inherit','closed','open','','186-revision-3','','','2012-01-23 20:23:07','2012-01-23 20:23:07','',186,'http://www.ethanlewismaltby.com/Home/186-revision-3/',0,'revision','',0),(308,1,'2012-02-06 12:33:57','2012-02-06 12:33:57','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.</p>','About','','inherit','closed','open','','25-revision-21','','','2012-02-06 12:33:57','2012-02-06 12:33:57','',25,'http://www.ethanlewismaltby.com/Home/25-revision-21/',0,'revision','',0),(309,1,'2012-02-03 22:37:53','2012-02-03 22:37:53','[gravityform id=1 title=false description=true ajax=true]','Contact','','inherit','closed','open','','29-revision-26','','','2012-02-03 22:37:53','2012-02-03 22:37:53','',29,'http://www.ethanlewismaltby.com/Home/29-revision-26/',0,'revision','',0),(375,1,'2012-02-21 15:41:47','2012-02-21 15:41:47','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.</p>','About','','inherit','closed','open','','25-revision-22','','','2012-02-21 15:41:47','2012-02-21 15:41:47','',25,'http://www.ethanlewismaltby.com/Home/25-revision-22/',0,'revision','',0),(486,1,'2012-02-21 16:11:14','2012-02-21 16:11:14','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby is currently scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\'.</p>','About','','inherit','closed','open','','25-revision-23','','','2012-02-21 16:11:14','2012-02-21 16:11:14','',25,'http://www.ethanlewismaltby.com/Home/25-revision-23/',0,'revision','',0),(487,1,'2012-06-19 23:33:35','2012-06-19 23:33:35','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'. <span style=\"line-height: 1.6;\">Maltby recently finished scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\' and the score for the national touring Dance Theatre piece \'Ignite\'.</span></p>','About','','inherit','closed','open','','25-revision-24','','','2012-06-19 23:33:35','2012-06-19 23:33:35','',25,'http://www.ethanlewismaltby.com/Home/25-revision-24/',0,'revision','',0),(488,1,'2012-06-19 23:34:14','2012-06-19 23:34:14','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'. <span style=\"line-height: 1.6;\">Maltby recently finished scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\' and the score for the national touring Dance Theatre piece \'Ignite\'.</span></p>','About','','inherit','closed','open','','25-revision-25','','','2012-06-19 23:34:14','2012-06-19 23:34:14','',25,'http://www.ethanlewismaltby.com/Home/25-revision-25/',0,'revision','',0),(317,1,'2010-07-05 20:17:25','2010-07-05 20:17:25','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"text-align: justify;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. His music has been performed all over the world in cinemas, stadiums and theatres.</p>\r\n<p style=\"text-align: justify;\">To date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brook Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour), \'The Sparkle Thief\' (Anselm Studios, Canterbury) and the upcoming ‘Apparition Smith’.</p>\r\n<p style=\"text-align: justify;\">In 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.</p>\r\n<p style=\"text-align: justify;\">In 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently working on several theatrical projects including his new musical \'The Battle Of Boat\'.</p>\r\n<p style=\"text-align: center;\">~</p>\r\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, Leeds Castle, KCC','About','','publish','open','open','','about-2-2','','','2015-01-12 01:22:43','2015-01-12 01:22:43','',0,'http://localhost/brankic1979.com/theme/CocoonWP/?page_id=5',3,'page','',0),(530,1,'2014-01-31 22:50:46','2014-01-31 22:50:46','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"text-align: justify;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. His music has been performed all over the world in cinemas, stadiums and theatres.</p>\r\n<p style=\"text-align: justify;\">To date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brook Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour) and the upcoming ‘Apparition Smith’.</p>\r\n<p style=\"text-align: justify;\">In 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.</p>\r\n<p style=\"text-align: justify;\">In 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently in pre-production on British feature film ‘Marriage’ whilst continuing to develop various theatrical projects.</p>\r\n<p style=\"text-align: center;\">~</p>\r\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, Leeds Castle, KCC','About','','inherit','closed','open','','317-revision-9','','','2014-01-31 22:50:46','2014-01-31 22:50:46','',317,'http://www.ethanlewismaltby.com/Home/317-revision-9/',0,'revision','',0),(518,1,'2014-01-31 22:44:20','2014-01-31 22:44:20','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n\r\nEthan Lewis Maltby is a British composer based inCanterbury,Kent. His music has been performed all over the world in cinemas, stadiums and theatres.\r\n\r\nTo date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brooke Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour) and the upcoming ‘Apparition Smith’.\r\n\r\nIn 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively inUKtheatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.\r\n\r\nIn 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. 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Check <strong>Custom Fields</strong> values\n<ul>\n	<li>Home Articles Cat ID</li>\n	<li>Home Slideshow Articles Cat ID</li>\n	<li>Type</li>\n</ul>\nand <strong>Order </strong>on the right hand side','Home','','publish','open','open','','home-2','','','2010-07-05 20:24:51','2010-07-05 20:24:51','',0,'http://localhost/brankic1979.com/theme/CocoonWP/?page_id=17',1,'page','',0),(439,1,'2012-02-06 14:03:16','2012-02-06 14:03:16','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','\"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. 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He writes music for TV, Theatre, Cinema and the Concert Hall.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. 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src=\"https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F1580978%3Fsecret_token%3Ds-qHCe8&amp;show_comments=false&amp;auto_play=false&amp;show_playcount=false&amp;show_artwork=false&amp;color=0f1144\" allowscriptaccess=\"always\" /></object></div>\r\n<div id=\"right-half\"><object width=\"100%\" height=\"345\" classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0\"><param name=\"quality\" value=\"best\" /><param name=\"allowfullscreen\" value=\"true\" /><param name=\"allowscriptaccess\" value=\"always\" /><param name=\"scale\" value=\"showAll\" /><param name=\"src\" value=\"http://vimeo.com/hubnut/?user_id=ethanlewismaltby&amp;color=FFFFFF&amp;background=000000&amp;fullscreen=1&amp;slideshow=1&amp;stream=album&amp;id=1811655&amp;server=vimeo.com\" /><embed width=\"100%\" height=\"345\" type=\"application/x-shockwave-flash\" src=\"http://vimeo.com/hubnut/?user_id=ethanlewismaltby&amp;color=FFFFFF&amp;background=000000&amp;fullscreen=1&amp;slideshow=1&amp;stream=album&amp;id=1811655&amp;server=vimeo.com\" quality=\"best\" allowfullscreen=\"true\" allowscriptaccess=\"always\" scale=\"showAll\" /></object></div>\r\n<div></div>','Media','','inherit','closed','open','','7-revision-5','','','2012-02-21 19:10:39','2012-02-21 19:10:39','',7,'http://www.ethanlewismaltby.com/Home/7-revision-5/',0,'revision','',0),(394,1,'2012-02-21 16:22:05','2012-02-21 16:22:05','Reviews','Reviews','','inherit','closed','open','','318-revision-2','','','2012-02-21 16:22:05','2012-02-21 16:22:05','',318,'http://www.ethanlewismaltby.com/Home/318-revision-2/',0,'revision','',0),(492,1,'2013-11-23 14:19:00','2013-11-23 14:19:00','<h1>Five ELM albums now available online</h1>\nELM has released five albums of his work to purchase on iTunes, Google Play and Amazon MP3.','SLide 14','','inherit','closed','open','','490-autosave','','','2013-11-23 14:19:00','2013-11-23 14:19:00','',490,'http://www.ethanlewismaltby.com/Home/490-autosave/',0,'revision','',0),(489,1,'2012-02-21 19:10:50','2012-02-21 19:10:50','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. 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Etiam feugiat nunc ut nibh interdum tempus. Donec at lorem eget sapien iaculis porttitor id quis ligula. Duis non ante quis ligula vestibulum scelerisque id quis est.','Contact','','inherit','closed','open','','15-revision','','','2010-07-05 20:20:16','2010-07-05 20:20:16','',15,'http://www.ethanlewismaltby.com/Home/15-revision/',0,'revision','',0),(432,1,'2012-02-21 20:20:35','2012-02-21 20:20:35','<div id=\"left-half\">[gravityform id=1 title=false description=true ajax=true]</div>','Contact','','inherit','closed','open','','15-revision-3','','','2012-02-21 20:20:35','2012-02-21 20:20:35','',15,'http://www.ethanlewismaltby.com/Home/15-revision-3/',0,'revision','',0),(433,1,'2012-02-21 20:31:09','2012-02-21 20:31:09','<div id=\"left-half\">[gravityform id=1 title=false description=true ajax=true]</div>\r\n<div id=\"right-half\"><h2 style=\"font-size:22px;color:#C6E5FF;\">Links</h2>[nggallery id=1]</div>','Contact','','inherit','closed','open','','15-revision-4','','','2012-02-21 20:31:09','2012-02-21 20:31:09','',15,'http://www.ethanlewismaltby.com/Home/15-revision-4/',0,'revision','',0),(442,1,'2012-02-06 14:09:28','2012-02-06 14:09:28','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\n&nbsp;\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\n&nbsp;\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\n&nbsp;\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n&nbsp;\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\n&nbsp;\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\n&nbsp;\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\n&nbsp;\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\n&nbsp;\r\n\r\nGreat fun!','Great British Theatre','\"What DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-4','','','2012-02-06 14:09:28','2012-02-06 14:09:28','',184,'http://www.ethanlewismaltby.com/Home/184-revision-4/',0,'revision','',0),(440,1,'2012-02-24 18:00:43','2012-02-24 18:00:43','<p>Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.</p>\r\n\r\n<p>This musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.</p>\r\n\r\n<p>By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.</p>\r\n\r\n<p>While paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.</p>\r\n\r\n<p>Each of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.</p>\r\n\r\n<p>Lyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.</p>\r\n\r\n<p>At the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.</p>\r\n\r\n<p>The show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.</p>\r\n\r\n<p>Lindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.</p>\r\n\r\n<p>Set design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.</p>\r\n\r\n<p>All this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.</p>\r\n\r\n<p>As the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.</p>\r\n\r\n<p>This homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.</p>\r\n\r\n<p>Russell Flint','Kent on Sunday','\"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-5','','','2012-02-24 18:00:43','2012-02-24 18:00:43','',225,'http://www.ethanlewismaltby.com/Home/225-revision-5/',0,'revision','',0),(441,1,'2012-02-24 18:01:14','2012-02-24 18:01:14','<p>Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.</p>\r\n<p>This musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.</p>\r\n<p>By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.</p>\r\n<p>While paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.</p>\r\n<p>Each of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.</p>\r\n<p>Lyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.</p>\r\n<p>At the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.</p>\r\n<p>The show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.</p>\r\n<p>Lindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.</p>\r\n<p>Set design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.</p>\r\n<p>All this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.</p>\r\n<p>As the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.</p>\r\n<p>This homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.</p>\r\n<p>Russell Flint','Kent on Sunday','\"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-6','','','2012-02-24 18:01:14','2012-02-24 18:01:14','',225,'http://www.ethanlewismaltby.com/Home/225-revision-6/',0,'revision','',0),(444,1,'2012-01-23 20:18:52','2012-01-23 20:18:52','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\n&nbsp;\r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\n&nbsp;\r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\n&nbsp;\r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\n&nbsp;\r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\n&nbsp;\r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\n&nbsp;\r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','\"The music was just great listening...It was immense...\"','inherit','closed','open','','182-revision-3','','','2012-01-23 20:18:52','2012-01-23 20:18:52','',182,'http://www.ethanlewismaltby.com/Home/182-revision-3/',0,'revision','',0),(446,1,'2012-01-23 20:12:38','2012-01-23 20:12:38','By Vera Fletcher\r\n\r\n&nbsp;\r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\n&nbsp;\r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\r\n\r\n&nbsp;\r\n\r\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','\"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','inherit','closed','open','','174-revision-4','','','2012-01-23 20:12:38','2012-01-23 20:12:38','',174,'http://www.ethanlewismaltby.com/Home/174-revision-4/',0,'revision','',0),(447,1,'2012-01-23 20:10:00','2012-01-23 20:10:00','By Jonathan Wilkes\r\n\r\n&nbsp;\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\n&nbsp;\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\n&nbsp;\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\n&nbsp;\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\n&nbsp;\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\n&nbsp;\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\n&nbsp;\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\n&nbsp;\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\n&nbsp;\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...','inherit','closed','open','','172-revision-4','','','2012-01-23 20:10:00','2012-01-23 20:10:00','',172,'http://www.ethanlewismaltby.com/Home/172-revision-4/',0,'revision','',0),(450,1,'2012-02-25 13:12:41','2012-02-25 13:12:41','Mid Hants Observer – June 1st, The Nuffield, Southampton\n\nAn extract from the article/review “Tub thumping”\n\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\n\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\n\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\n\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.\n','Mid Hants Observer ','','inherit','closed','open','','449-revision','','','2012-02-25 13:12:41','2012-02-25 13:12:41','',449,'http://www.ethanlewismaltby.com/Home/449-revision/',0,'revision','',0),(451,1,'2012-02-25 13:13:02','2012-02-25 13:13:02','Mid Hants Observer – Noise Ensemble - June 1st, The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.\r\n','Mid Hants Observer ','','inherit','closed','open','','449-revision-2','','','2012-02-25 13:13:02','2012-02-25 13:13:02','',449,'http://www.ethanlewismaltby.com/Home/449-revision-2/',0,'revision','',0),(452,1,'2012-02-25 13:13:24','2012-02-25 13:13:24','Mid Hants Observer – Noise Ensemble - June 1st, The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.\r\n','Mid Hants Observer ','','inherit','closed','open','','449-revision-3','','','2012-02-25 13:13:24','2012-02-25 13:13:24','',449,'http://www.ethanlewismaltby.com/Home/449-revision-3/',0,'revision','',0),(453,1,'2012-02-25 13:14:12','2012-02-25 13:14:12','Mid Hants Observer – Noise Ensemble - June 1st, The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','','inherit','closed','open','','449-revision-4','','','2012-02-25 13:14:12','2012-02-25 13:14:12','',449,'http://www.ethanlewismaltby.com/Home/449-revision-4/',0,'revision','',0),(454,1,'2011-10-01 13:20:18','2011-10-01 13:20:18','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n&nbsp;\r\n\r\nDrumming up a storm of a show.\r\n\r\n&nbsp;\r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n&nbsp;\r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n&nbsp;\r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n&nbsp;\r\n\r\nReview by Chris Denham','Kentish Gazette','On Noise Ensemble... \"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','publish','closed','closed','','kentish-gazette-noise-ensemble','','','2015-06-18 20:15:21','2015-06-18 20:15:21','',0,'http://www.ethanlewismaltby.com/Home/?p=454',0,'post','',0),(455,1,'2012-02-25 13:19:23','2012-02-25 13:19:23','Kentish Gazette – Marlowe Theatre,Canterbury\n\n&nbsp;\n\nDrumming up a storm of a show.\n\n&nbsp;\n\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\n\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\n\n&nbsp;\n\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\n\n&nbsp;\n\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\n\n&nbsp;\n\nReview by Chris Denham','Kentish Gazette - Noise Ensemble','','inherit','closed','open','','454-revision','','','2012-02-25 13:19:23','2012-02-25 13:19:23','',454,'http://www.ethanlewismaltby.com/Home/454-revision/',0,'revision','',0),(456,1,'2012-02-25 13:20:18','2012-02-25 13:20:18','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n&nbsp;\r\n\r\nDrumming up a storm of a show.\r\n\r\n&nbsp;\r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n&nbsp;\r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n&nbsp;\r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n&nbsp;\r\n\r\nReview by Chris Denham','Kentish Gazette - Noise Ensemble','\"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','inherit','closed','open','','454-revision-2','','','2012-02-25 13:20:18','2012-02-25 13:20:18','',454,'http://www.ethanlewismaltby.com/Home/454-revision-2/',0,'revision','',0),(457,1,'2012-02-25 13:16:15','2012-02-25 13:16:15','Mid Hants Observer – Noise Ensemble -  The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','\"Noise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show.\"','inherit','closed','open','','449-revision-5','','','2012-02-25 13:16:15','2012-02-25 13:16:15','',449,'http://www.ethanlewismaltby.com/Home/449-revision-5/',0,'revision','',0),(458,1,'2011-02-25 13:24:45','2011-02-25 13:24:45','Southern Echo – The Nuffield, Southampton\r\n\r\n&nbsp;\r\n\r\nForgive me for banging on about how good this is…\r\n\r\n&nbsp;\r\n\r\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\r\n\r\n&nbsp;\r\n\r\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\r\n\r\n&nbsp;\r\n\r\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','On Noise Ensemble... \"Is there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\"','publish','closed','closed','','southern-echo','','','2015-06-18 20:15:21','2015-06-18 20:15:21','',0,'http://www.ethanlewismaltby.com/Home/?p=458',0,'post','',0),(459,1,'2012-02-25 13:23:56','2012-02-25 13:23:56','Southern Echo – June 3rd, The Nuffield, Southampton\n\n&nbsp;\n\nForgive me for banging on about how good this is…\n\n&nbsp;\n\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\n\n&nbsp;\n\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\n\n&nbsp;\n\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','','inherit','closed','open','','458-revision','','','2012-02-25 13:23:56','2012-02-25 13:23:56','',458,'http://www.ethanlewismaltby.com/Home/458-revision/',0,'revision','',0),(460,1,'2012-02-25 13:26:43','2012-02-25 13:26:43','Brighton Argus –  Theatre Royal,Brighton\r\n\r\n&nbsp;\r\n\r\nA Different Drum\r\n\r\n&nbsp;\r\n\r\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\r\n\r\n&nbsp;\r\n\r\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\r\n\r\n&nbsp;\r\n\r\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','On Noise Ensemble... \"In highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments.  The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.\"','publish','closed','closed','','brighton-argus','','','2015-06-18 20:15:20','2015-06-18 20:15:20','',0,'http://www.ethanlewismaltby.com/Home/?p=460',0,'post','',0),(461,1,'2012-02-25 13:25:58','2012-02-25 13:25:58','Brighton Argus –  Theatre Royal,Brighton\n\n&nbsp;\n\nA Different Drum\n\n&nbsp;\n\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\n\n&nbsp;\n\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\n\n&nbsp;\n\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','','inherit','closed','open','','460-revision','','','2012-02-25 13:25:58','2012-02-25 13:25:58','',460,'http://www.ethanlewismaltby.com/Home/460-revision/',0,'revision','',0),(462,1,'2012-02-25 13:26:43','2012-02-25 13:26:43','Brighton Argus –  Theatre Royal,Brighton\r\n\r\n&nbsp;\r\n\r\nA Different Drum\r\n\r\n&nbsp;\r\n\r\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\r\n\r\n&nbsp;\r\n\r\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\r\n\r\n&nbsp;\r\n\r\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','On Noise Ensemble... \"In highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments.  The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.\"','inherit','closed','open','','460-revision-2','','','2012-02-25 13:26:43','2012-02-25 13:26:43','',460,'http://www.ethanlewismaltby.com/Home/460-revision-2/',0,'revision','',0),(463,1,'2011-02-01 13:28:17','2011-02-01 13:28:17','At The Theatre.co.uk - June 2006\r\n\r\n&nbsp;\r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n&nbsp;\r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n&nbsp;\r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','publish','closed','closed','','at-the-theatre-co-uk','','','2015-06-18 20:15:21','2015-06-18 20:15:21','',0,'http://www.ethanlewismaltby.com/Home/?p=463',0,'post','',0),(464,1,'2012-02-25 13:27:28','2012-02-25 13:27:28','At The Theatre.co.uk - June 2006\n\n&nbsp;\n\nA show for everyone, especially those fond of percussion!\n\n&nbsp;\n\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\n\n&nbsp;\n\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\n\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','','inherit','closed','open','','463-revision','','','2012-02-25 13:27:28','2012-02-25 13:27:28','',463,'http://www.ethanlewismaltby.com/Home/463-revision/',0,'revision','',0),(465,1,'2012-02-25 13:28:17','2012-02-25 13:28:17','At The Theatre.co.uk - June 2006\r\n\r\n&nbsp;\r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n&nbsp;\r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n&nbsp;\r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-2','','','2012-02-25 13:28:17','2012-02-25 13:28:17','',463,'http://www.ethanlewismaltby.com/Home/463-revision-2/',0,'revision','',0),(466,1,'2012-02-24 18:01:46','2012-02-24 18:01:46','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','\"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-7','','','2012-02-24 18:01:46','2012-02-24 18:01:46','',225,'http://www.ethanlewismaltby.com/Home/225-revision-7/',0,'revision','',0),(467,1,'2012-02-06 14:05:08','2012-02-06 14:05:08','Touring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','\"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.\"','inherit','closed','open','','188-revision-8','','','2012-02-06 14:05:08','2012-02-06 14:05:08','',188,'http://www.ethanlewismaltby.com/Home/188-revision-8/',0,'revision','',0),(468,1,'2012-02-24 18:03:33','2012-02-24 18:03:33','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.','inherit','closed','open','','186-revision-4','','','2012-02-24 18:03:33','2012-02-24 18:03:33','',186,'http://www.ethanlewismaltby.com/Home/186-revision-4/',0,'revision','',0),(469,1,'2012-02-24 18:03:00','2012-02-24 18:03:00','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','\"What DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-5','','','2012-02-24 18:03:00','2012-02-24 18:03:00','',184,'http://www.ethanlewismaltby.com/Home/184-revision-5/',0,'revision','',0),(470,1,'2012-02-24 18:03:57','2012-02-24 18:03:57','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','\"The music was just great listening...It was immense...\"','inherit','closed','open','','182-revision-4','','','2012-02-24 18:03:57','2012-02-24 18:03:57','',182,'http://www.ethanlewismaltby.com/Home/182-revision-4/',0,'revision','',0),(471,1,'2012-02-24 18:04:12','2012-02-24 18:04:12','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','\"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-6','','','2012-02-24 18:04:12','2012-02-24 18:04:12','',176,'http://www.ethanlewismaltby.com/Home/176-revision-6/',0,'revision','',0),(472,1,'2012-02-24 18:04:28','2012-02-24 18:04:28','By Vera Fletcher\r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\r\n\r\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','\"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','inherit','closed','open','','174-revision-5','','','2012-02-24 18:04:28','2012-02-24 18:04:28','',174,'http://www.ethanlewismaltby.com/Home/174-revision-5/',0,'revision','',0),(473,1,'2012-02-24 18:04:51','2012-02-24 18:04:51','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...','inherit','closed','open','','172-revision-5','','','2012-02-24 18:04:51','2012-02-24 18:04:51','',172,'http://www.ethanlewismaltby.com/Home/172-revision-5/',0,'revision','',0),(474,1,'2012-02-24 18:05:25','2012-02-24 18:05:25','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming &amp; exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades &amp; Vinnie (James Hulme &amp; James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-21','','','2012-02-24 18:05:25','2012-02-24 18:05:25','',168,'http://www.ethanlewismaltby.com/Home/168-revision-21/',0,'revision','',0),(475,1,'2012-02-25 13:36:35','2012-02-25 13:36:35','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','On DrumChasers...\"The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...\"','inherit','closed','open','','172-revision-6','','','2012-02-25 13:36:35','2012-02-25 13:36:35','',172,'http://www.ethanlewismaltby.com/Home/172-revision-6/',0,'revision','',0),(476,1,'2012-02-25 13:30:23','2012-02-25 13:30:23','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.\"','inherit','closed','open','','188-revision-9','','','2012-02-25 13:30:23','2012-02-25 13:30:23','',188,'http://www.ethanlewismaltby.com/Home/188-revision-9/',0,'revision','',0),(477,1,'2012-02-25 13:35:43','2012-02-25 13:35:43','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','On DrumChasers... \"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-7','','','2012-02-25 13:35:43','2012-02-25 13:35:43','',176,'http://www.ethanlewismaltby.com/Home/176-revision-7/',0,'revision','',0),(478,1,'2012-02-25 13:28:19','2012-02-25 13:28:19','At The Theatre.co.uk - June 2006\r\n\r\n&nbsp;\r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n&nbsp;\r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n&nbsp;\r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-3','','','2012-02-25 13:28:19','2012-02-25 13:28:19','',463,'http://www.ethanlewismaltby.com/Home/463-revision-3/',0,'revision','',0),(479,1,'2012-02-25 13:36:59','2012-02-25 13:36:59','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming &amp; exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades &amp; Vinnie (James Hulme &amp; James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-22','','','2012-02-25 13:36:59','2012-02-25 13:36:59','',168,'http://www.ethanlewismaltby.com/Home/168-revision-22/',0,'revision','',0),(480,1,'2012-02-25 13:21:14','2012-02-25 13:21:14','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n&nbsp;\r\n\r\nDrumming up a storm of a show.\r\n\r\n&nbsp;\r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n&nbsp;\r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n&nbsp;\r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n&nbsp;\r\n\r\nReview by Chris Denham','Kentish Gazette','On Noise Ensemble... \"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','inherit','closed','open','','454-revision-3','','','2012-02-25 13:21:14','2012-02-25 13:21:14','',454,'http://www.ethanlewismaltby.com/Home/454-revision-3/',0,'revision','',0),(481,1,'2012-02-25 13:44:23','2012-02-25 13:44:23','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming &amp; exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades &amp; Vinnie (James Hulme &amp; James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-23','','','2012-02-25 13:44:23','2012-02-25 13:44:23','',168,'http://www.ethanlewismaltby.com/Home/168-revision-23/',0,'revision','',0),(482,1,'2012-02-25 13:34:16','2012-02-25 13:34:16','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','On DrumChasers...\" very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-6','','','2012-02-25 13:34:16','2012-02-25 13:34:16','',184,'http://www.ethanlewismaltby.com/Home/184-revision-6/',0,'revision','',0),(483,1,'2012-02-25 13:24:45','2012-02-25 13:24:45','Southern Echo – The Nuffield, Southampton\r\n\r\n&nbsp;\r\n\r\nForgive me for banging on about how good this is…\r\n\r\n&nbsp;\r\n\r\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\r\n\r\n&nbsp;\r\n\r\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\r\n\r\n&nbsp;\r\n\r\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','On Noise Ensemble... \"Is there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\"','inherit','closed','open','','458-revision-2','','','2012-02-25 13:24:45','2012-02-25 13:24:45','',458,'http://www.ethanlewismaltby.com/Home/458-revision-2/',0,'revision','',0),(484,1,'2012-02-25 13:43:49','2012-02-25 13:43:49','At The Theatre.co.uk - June 2006\r\n\r\n&nbsp;\r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n&nbsp;\r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n&nbsp;\r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-4','','','2012-02-25 13:43:49','2012-02-25 13:43:49','',463,'http://www.ethanlewismaltby.com/Home/463-revision-4/',0,'revision','',0),(485,1,'2012-02-25 13:42:35','2012-02-25 13:42:35','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.\"','inherit','closed','open','','188-revision-10','','','2012-02-25 13:42:35','2012-02-25 13:42:35','',188,'http://www.ethanlewismaltby.com/Home/188-revision-10/',0,'revision','',0),(520,1,'2014-06-29 23:10:19','2014-06-29 23:10:19','<h1>ELM Composes For UEFA</h1>\r\nELM commissioned by UEFA to score the opening ceremony for both the UEFA Europa League Cup Final and the UEFA Women\'s Champions League Final.','2014 - A','','publish','closed','closed','','2014-a','','','2014-12-17 02:25:43','2014-12-17 02:25:43','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&#038;p=520',0,'stylico-slide','',0),(495,1,'2013-11-23 14:03:09','2013-11-23 14:03:09','<h1>The new album \'Christmas Symphonica\' by ELM out now</h1>\r\nFeaturing the voices of Jason Allen and Jenna Donnelly, this 58-minute orchestral festive celebration combines original composition with a couple of old favourites. Available now to buy from <a href=\"https://itunes.apple.com/gb/album/christmas-symphonica-feat./id748494448\" target=\"_blank\">iTunes</a>, <a href=\"https://play.google.com/store/music/album/Ethan_Lewis_Maltby_Ethan_Lewis_Maltby_Christmas_Sy?id=Brz4gvne3qogdesnt6vlvtndcbi\" target=\"_blank\">Google Play</a> and <a href=\"http://www.amazon.co.uk/s/ref=ntt_srch_drd_B008BHUHLQ?ie=UTF8&field-keywords=Ethan%20Lewis%20Maltby&index=digital-music&search-type=ss\" target=\"_blank\">Amazon MP3</a>.','Slide 15','','publish','closed','closed','','slide-15','','','2013-11-23 16:03:09','2013-11-23 16:03:09','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&#038;p=495',0,'stylico-slide','',0),(496,1,'2013-11-23 14:02:55','2013-11-23 14:02:55','','ChristmasSymphonicaBanner','','inherit','closed','open','','christmassymphonicabanner','','','2013-11-23 14:02:55','2013-11-23 14:02:55','',495,'http://ethanlewismaltby.com/Home/wp-content/uploads/2013/11/ChristmasSymphonicaBanner.jpg',0,'attachment','image/jpeg',0),(497,1,'2013-11-23 14:07:50','2013-11-23 14:07:50','<h1>The new album \'Christmas Symphonica\' by ELM out now</h1>\nFeaturing the voices of Jason Allen and Jenna Donnelly, this 58-minute orchestral festive celebration combines original composition with a couple of old favourites. Available now to buy from <a href=\"https://itunes.apple.com/gb/album/christmas-symphonica-feat./id748494448\" target=\"_blank\">iTunes</a>, <a href=\"https://play.google.com/store/music/album/Ethan_Lewis_Maltby_Ethan_Lewis_Maltby_Christmas_Sy?id=Brz4gvne3qogdesnt6vlvtndcbi\" target=\"_blank\">Google Play</a> and Amazon MP3.','Slide 15','','inherit','closed','open','','495-autosave','','','2013-11-23 14:07:50','2013-11-23 14:07:50','',495,'http://www.ethanlewismaltby.com/Home/495-autosave/',0,'revision','',0),(505,1,'2014-01-08 14:41:31','2014-01-08 14:41:31','<div id=\"left-half\"><iframe width=\"100%\" height=\"345\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1580978&amp;color=0f1144&amp;auto_play=false&amp;show_artwork=false\"></iframe></div>\r\n<div id=\"right-half\">[vimeography id=\"2\" width=\"415px\"]</div>\r\n<div></div>','Media','','inherit','closed','open','','7-revision-12','','','2014-01-08 14:41:31','2014-01-08 14:41:31','',7,'http://www.ethanlewismaltby.com/Home/7-revision-12/',0,'revision','',0),(507,1,'2014-01-08 14:47:12','2014-01-08 14:47:12','<div id=\"left-half\"><iframe width=\"100%\" height=\"345\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1580978&amp;color=0f1144&amp;auto_play=false&amp;show_artwork=false\"></iframe></div>\r\n<div id=\"right-half\">[raw][vimeography id=\"2\" width=\"415px\"][/raw]</div>\r\n<div></div>','Media','','inherit','closed','open','','7-revision-14','','','2014-01-08 14:47:12','2014-01-08 14:47:12','',7,'http://www.ethanlewismaltby.com/Home/7-revision-14/',0,'revision','',0),(510,1,'2012-02-21 19:35:55','2012-02-21 19:35:55','\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-2/\">The York Press</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-2/\" title=\"1:40 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-2/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-8/\">The Stage</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-8/\" title=\"1:39 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-8/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-4/\">The Oxford Times</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-4/\" title=\"1:38 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-4/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-1/\">What&#8217;s On Northeast</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-1/\" title=\"1:36 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-1/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/brighton-argus/\">Brighton Argus</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/brighton-argus/\" title=\"1:26 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/brighton-argus/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/mid-hants-observer/\">Mid Hants Observer</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/mid-hants-observer/\" title=\"1:13 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/mid-hants-observer/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-6/\">Great British Theatre</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-6/\" title=\"1:35 pm\" rel=\"bookmark\">January 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-6/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/kent-on-sunday/\">Kent on Sunday</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/kent-on-sunday/\" title=\"8:28 pm\" rel=\"bookmark\">January 23, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/kent-on-sunday/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-7/\">Best Kept Secrets</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-7/\" title=\"4:59 pm\" rel=\"bookmark\">January 23, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-7/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-5/\">Talk Torbay</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-5/\" title=\"4:58 pm\" rel=\"bookmark\">January 23, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-5/\" class=\"thumbnail-link\">\n</a>\n\n','Reviews','','inherit','closed','open','','318-revision-3','','','2012-02-21 19:35:55','2012-02-21 19:35:55','',318,'http://www.ethanlewismaltby.com/Home/318-revision-3/',0,'revision','',0),(512,1,'2014-01-08 16:11:59','2014-01-08 16:11:59','Reviews','Reviews','','inherit','closed','open','','318-autosave','','','2014-01-08 16:11:59','2014-01-08 16:11:59','',318,'http://www.ethanlewismaltby.com/Home/318-autosave/',0,'revision','',0),(515,1,'2014-01-08 14:48:04','2014-01-08 14:48:04','<div id=\"left-half\"><iframe width=\"100%\" height=\"345\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1580978&amp;color=0f1144&amp;auto_play=false&amp;show_artwork=false\"></iframe></div>\r\n<div id=\"right-half\">[vimeography id=\"2\" width=\"415px\"]</div>\r\n<div></div>','Media','','inherit','closed','open','','7-revision-15','','','2014-01-08 14:48:04','2014-01-08 14:48:04','',7,'http://www.ethanlewismaltby.com/Home/7-revision-15/',0,'revision','',0),(516,1,'2015-01-12 01:23:45','2015-01-12 01:23:45','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\n<p style=\"text-align: justify;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. His music has been performed all over the world in cinemas, stadiums and theatres.</p>\n<p style=\"text-align: justify;\">To date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brook Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour), \'The Sparkle Thief\' (Anselm Studios, Canterbury) and the upcoming ‘Apparition Smith’.</p>\n<p style=\"text-align: justify;\">In 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.</p>\n<p style=\"text-align: justify;\">In 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently working on several theatrical projects including his new musical \'The Battle Of Boat\'.</p>\n<p style=\"text-align: center;\">~</p>\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, Leeds Castle, KCC','About','','inherit','closed','open','','317-autosave','','','2015-01-12 01:23:45','2015-01-12 01:23:45','',317,'http://www.ethanlewismaltby.com/Home/317-autosave/',0,'revision','',0),(517,1,'2012-06-19 23:39:02','2012-06-19 23:39:02','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. He writes music for TV, Theatre, Cinema and the Concert Hall.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby has scored many films and animations covering many different genres. He has collaborated with Spanish filmmaker Jesús Monllaó on several projects, scoring the award winning \'La Mirada Oblique\', \'Gloria\', and \'The Legacy\', and also with animator Kam-Li Cheng on her stunning animations, \'The Highwayman\' and \'Avatara\'. In late 2006, Maltby scored \'Waste Man\', the Channel 4 documentary on artist Antony Gormley and his sculpture. In theatre, Maltby composed the soundtrack for the first British virtual reality stage play, \'A Midsummer Night\'s Dream\', the score for Hungarian play \'Bloodletting\' and several musicals including \'Courtenay\' (with lyricist Christopher Neame).</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">In 2004 Maltby created, composed and directed \'Noise Ensemble\', a percussion show which has been touring since 2006. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV\'s Blue Peter. It has also toured Russia, Belgium, Holland, South Korea, Switzerland, Norway and Cyprus. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track \'FA Overture\' has since become the players walk-on anthem for all major FA games.</p>\r\n<p style=\"line-height: 1.6; text-align: justify; font-size: 13px;\">Maltby\'s latest theatrical show \'DrumChasers\' toured theatres throughout the UK in 2011 with narration by Stephen Fry and received rave reviews. He then finished the year by scoring The Brook Theatre\'s Christmas show, \'Snowy The Fox\'. Maltby recently finished scoring Jesús Monllaó\'s debut feature film \'Fill De Cain\' and the score for the national touring Dance Theatre piece \'Ignite\'.</p>','About','','inherit','closed','open','','317-revision-6','','','2012-06-19 23:39:02','2012-06-19 23:39:02','',317,'http://www.ethanlewismaltby.com/Home/317-revision-6/',0,'revision','',0),(511,1,'2014-01-08 16:07:48','2014-01-08 16:07:48','\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-2/\">The York Press</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-2/\" title=\"1:40 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-2/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-8/\">The Stage</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-8/\" title=\"1:39 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-8/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-4/\">The Oxford Times</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-4/\" title=\"1:38 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-4/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-1/\">What&#8217;s On Northeast</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-1/\" title=\"1:36 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-1/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/brighton-argus/\">Brighton Argus</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/brighton-argus/\" title=\"1:26 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/brighton-argus/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/mid-hants-observer/\">Mid Hants Observer</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/mid-hants-observer/\" title=\"1:13 pm\" rel=\"bookmark\">February 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/mid-hants-observer/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-6/\">Great British Theatre</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-6/\" title=\"1:35 pm\" rel=\"bookmark\">January 25, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-6/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/kent-on-sunday/\">Kent on Sunday</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/kent-on-sunday/\" title=\"8:28 pm\" rel=\"bookmark\">January 23, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/kent-on-sunday/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-7/\">Best Kept Secrets</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-7/\" title=\"4:59 pm\" rel=\"bookmark\">January 23, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-7/\" class=\"thumbnail-link\">\n</a>\n\n\n\n<h2><a href=\"http://www.ethanlewismaltby.com/Home/review-5/\">Talk Torbay</h2></a>\n\nPosted on <a href=\"http://www.ethanlewismaltby.com/Home/review-5/\" title=\"4:58 pm\" rel=\"bookmark\">January 23, 2012</a> by <a class=\"url fn n\" href=\"http://www.ethanlewismaltby.com/Home/author/admin/\" title=\"View all posts by admin\" rel=\"author\">admin</a>\n\n\n<a href=\"http://www.ethanlewismaltby.com/Home/review-5/\" class=\"thumbnail-link\">\n</a>\n\n','Reviews','','inherit','closed','open','','318-revision-4','','','2014-01-08 16:07:48','2014-01-08 16:07:48','',318,'http://www.ethanlewismaltby.com/Home/318-revision-4/',0,'revision','',0),(531,1,'2014-08-05 21:01:45','2014-08-05 21:01:45','[nggallery id=1]','Links','','inherit','closed','open','','524-autosave','','','2014-08-05 21:01:45','2014-08-05 21:01:45','',524,'http://www.ethanlewismaltby.com/Home/524-autosave/',0,'revision','',0),(519,1,'2014-01-31 22:48:43','2014-01-31 22:48:43','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"text-align: justify;\">Ethan Lewis Maltby is a British composer based in Canterbury,Kent. His music has been performed all over the world in cinemas, stadiums and theatres.</p>\r\n<p style=\"text-align: justify;\">To date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brook Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour) and the upcoming ‘Apparition Smith’.</p>\r\n<p style=\"text-align: justify;\">In 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.</p>\r\n<p style=\"text-align: justify;\">In 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently in pre-production on British feature film ‘Marriage’ whilst continuing to develop various theatrical projects.</p>\r\n<p style=\"text-align: center;\">~</p>\r\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, Leeds Castle, KCC','About','','inherit','closed','open','','317-revision-8','','','2014-01-31 22:48:43','2014-01-31 22:48:43','',317,'http://www.ethanlewismaltby.com/Home/317-revision-8/',0,'revision','',0),(524,1,'2014-06-30 23:39:47','2014-06-30 23:39:47','[nggallery id=1]','Links','','publish','closed','open','','links','','','2014-06-30 23:39:47','2014-06-30 23:39:47','',0,'http://www.ethanlewismaltby.com/Home/links/',0,'page','',0),(527,1,'2012-02-21 20:32:08','2012-02-21 20:32:08','<div id=\"left-half\">[gravityform id=1 title=false description=true ajax=true]</div>\r\n<div id=\"right-half\"><h2 style=\"font-size:22px;color:#C6E5FF;padding-bottom:0px; margin-bottom:0px;\">Links</h2>[nggallery id=1]</div>','Contact','','inherit','closed','open','','15-revision-5','','','2012-02-21 20:32:08','2012-02-21 20:32:08','',15,'http://www.ethanlewismaltby.com/Home/15-revision-5/',0,'revision','',0),(532,1,'2014-12-17 02:22:58','2014-12-17 02:22:58','<h1>The Sparkle Thief opens!</h1>\r\nThe new Christmas Musical by ELM and Jenna Donnelly opens at Anselm Studios.','The Sparkle Thief opens!','','publish','closed','closed','','the-new-christmas-musical-by-elm-and-jenna-donnelly-opens-at-anselm-studios','','','2014-12-17 02:27:00','2014-12-17 02:27:00','',0,'http://www.ethanlewismaltby.com/Home/?post_type=stylico-slide&#038;p=532',0,'stylico-slide','',0),(523,1,'2014-06-29 23:05:56','2014-06-29 23:05:56','','europa-league-final','','inherit','closed','open','','europa-league-final-2','','','2014-06-29 23:05:56','2014-06-29 23:05:56','',520,'http://ethanlewismaltby.com/Home/wp-content/uploads/2014/06/europa-league-final1.jpeg',0,'attachment','image/jpeg',0),(528,1,'2014-08-05 13:24:54','2014-08-05 13:24:54','<div id=\"left-half\" style=\"overflow:scroll !important;\">[gravityform id=1 title=false description=true ajax=true]</div>\r\n<div id=\"right-half\"><h2 style=\"font-size:22px;color:#C6E5FF;padding-bottom:0px; margin-bottom:0px;\">Links</h2>[nggallery id=1]</div>','Contact','','inherit','closed','open','','15-revision-6','','','2014-08-05 13:24:54','2014-08-05 13:24:54','',15,'http://www.ethanlewismaltby.com/Home/15-revision-6/',0,'revision','',0),(529,1,'2014-08-05 13:25:09','2014-08-05 13:25:09','<div id=\"left-half\" style=\"overflow:scroll-y !important;\">[gravityform id=1 title=false description=true ajax=true]</div>\r\n<div id=\"right-half\"><h2 style=\"font-size:22px;color:#C6E5FF;padding-bottom:0px; margin-bottom:0px;\">Links</h2>[nggallery id=1]</div>','Contact','','inherit','closed','open','','15-revision-7','','','2014-08-05 13:25:09','2014-08-05 13:25:09','',15,'http://www.ethanlewismaltby.com/Home/15-revision-7/',0,'revision','',0),(533,1,'2014-12-17 02:22:02','2014-12-17 02:22:02','','Background-for-Anselm-Screens-v3','','inherit','closed','open','','background-for-anselm-screens-v3','','','2014-12-17 02:22:02','2014-12-17 02:22:02','',532,'http://ethanlewismaltby.com/Home/wp-content/uploads/2014/12/Background-for-Anselm-Screens-v3.jpg',0,'attachment','image/jpeg',0),(534,1,'2014-12-17 02:26:50','2014-12-17 02:26:50','<h1>ELM Composes For UEFA</h1>\nThe new Christmas Musical by ELM and Jenna Donnelly opens at Anselm Studios.','The Sparkle Thief opens!','','inherit','closed','open','','532-autosave','','','2014-12-17 02:26:50','2014-12-17 02:26:50','',532,'http://www.ethanlewismaltby.com/Home/532-autosave/',0,'revision','',0),(543,1,'2012-02-25 13:41:56','2012-02-25 13:41:56','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','On DrumChasers...\"The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...\"','inherit','closed','open','','172-revision-7','','','2012-02-25 13:41:56','2012-02-25 13:41:56','',172,'http://www.ethanlewismaltby.com/Home/172-revision-7/',0,'revision','',0),(537,1,'2015-01-12 01:09:22','0000-00-00 00:00:00','','Auto Draft','','auto-draft','closed','open','','','','','2015-01-12 01:09:22','0000-00-00 00:00:00','',0,'http://www.ethanlewismaltby.com/Home/?p=537',0,'post','',0),(541,1,'2014-08-05 21:00:51','2014-08-05 21:00:51','<img class=\"alignleft size-full wp-image-91\" title=\"AboutELM\" src=\"http://www.ethanlewismaltby.com/Home/wp-content/uploads/2012/01/AboutELM.jpg\" alt=\"\" width=\"250\" height=\"167\" />\r\n<p style=\"text-align: justify;\">Ethan Lewis Maltby is a British composer based in Canterbury, Kent. His music has been performed all over the world in cinemas, stadiums and theatres.</p>\r\n<p style=\"text-align: justify;\">To date, Maltby has scored many films and animations covering many different genres. He has collaborated with acclaimed Spanish filmmaker Jesús Monllaó on several projects, most recently scoring the multi award-winning feature film ‘Son Of Cain’. In theatre, Maltby has composed scores for ‘A Midsummer Night’s Dream’ (UKC), ‘Bloodletting’ (HCC), ‘Ignite’ (UK Tour), ‘Snowy The Fox’ (The Brook Theatre, Chatham) and several musicals including ‘Courtenay’ (UK Tour) and the upcoming ‘Apparition Smith’.</p>\r\n<p style=\"text-align: justify;\">In 2004 Maltby created, composed and directed ‘Noise Ensemble’, a percussion show which toured all over the world from 2006 - 2011. This spectacular show has played extensively in UK theatres and venues including The South Bank Centre, Wembley Stadium and on TV’s Blue Peter. He also composed the score for the 2008 and 2009 FA Cup Final Opening Ceremonies – his track ‘FA Overture’ has since become the players walk-on anthem for all major FA games.</p>\r\n<p style=\"text-align: justify;\">In 2011, Maltby’s latest theatrical show ‘DrumChasers’ toured UK theatres with narration by Stephen Fry, it received rave reviews. He is currently continuing to develop various theatrical projects.</p>\r\n<p style=\"text-align: center;\">~</p>\r\nClients include: UEFA, FA, RBS, Microsoft, Nestle, Cineworld, Telenet, BP, The Venetian Hotel Macau, Wella, Shepherd Neame, Walls, Leeds Castle, KCC','About','','inherit','closed','open','','317-revision-10','','','2014-08-05 21:00:51','2014-08-05 21:00:51','',317,'http://www.ethanlewismaltby.com/Home/317-revision-10/',0,'revision','',0),(544,1,'2012-02-25 13:51:10','2012-02-25 13:51:10','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement...\"','inherit','closed','open','','188-revision-11','','','2012-02-25 13:51:10','2012-02-25 13:51:10','',188,'http://www.ethanlewismaltby.com/Home/188-revision-11/',0,'revision','',0),(545,1,'2012-02-25 13:43:22','2012-02-25 13:43:22','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','On DrumChasers... \"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-8','','','2012-02-25 13:43:22','2012-02-25 13:43:22','',176,'http://www.ethanlewismaltby.com/Home/176-revision-8/',0,'revision','',0),(546,1,'2012-02-25 13:46:13','2012-02-25 13:46:13','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming &amp; exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades &amp; Vinnie (James Hulme &amp; James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-24','','','2012-02-25 13:46:13','2012-02-25 13:46:13','',168,'http://www.ethanlewismaltby.com/Home/168-revision-24/',0,'revision','',0),(547,1,'2012-02-25 13:26:50','2012-02-25 13:26:50','Brighton Argus –  Theatre Royal,Brighton\r\n\r\n&nbsp;\r\n\r\nA Different Drum\r\n\r\n&nbsp;\r\n\r\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\r\n\r\n&nbsp;\r\n\r\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\r\n\r\n&nbsp;\r\n\r\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','On Noise Ensemble... \"In highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments.  The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.\"','inherit','closed','open','','460-revision-3','','','2012-02-25 13:26:50','2012-02-25 13:26:50','',460,'http://www.ethanlewismaltby.com/Home/460-revision-3/',0,'revision','',0),(548,1,'2012-02-25 13:22:18','2012-02-25 13:22:18','Mid Hants Observer – Noise Ensemble -  The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','On Noise Ensemble... \"a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show.\"','inherit','closed','open','','449-revision-6','','','2012-02-25 13:22:18','2012-02-25 13:22:18','',449,'http://www.ethanlewismaltby.com/Home/449-revision-6/',0,'revision','',0),(549,1,'2012-02-25 13:48:48','2012-02-25 13:48:48','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','On DrumChasers...\" very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-7','','','2012-02-25 13:48:48','2012-02-25 13:48:48','',184,'http://www.ethanlewismaltby.com/Home/184-revision-7/',0,'revision','',0),(550,1,'2012-02-25 13:29:23','2012-02-25 13:29:23','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','On Courtenay... \"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-8','','','2012-02-25 13:29:23','2012-02-25 13:29:23','',225,'http://www.ethanlewismaltby.com/Home/225-revision-8/',0,'revision','',0),(551,1,'2012-02-25 13:33:36','2012-02-25 13:33:36','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','On DrumChasers...\"Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\"','inherit','closed','open','','186-revision-5','','','2012-02-25 13:33:36','2012-02-25 13:33:36','',186,'http://www.ethanlewismaltby.com/Home/186-revision-5/',0,'revision','',0),(552,1,'2012-02-25 13:35:06','2012-02-25 13:35:06','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','On DrumChasers...\"The music was just great listening...It was immense...\"','inherit','closed','open','','182-revision-5','','','2012-02-25 13:35:06','2012-02-25 13:35:06','',182,'http://www.ethanlewismaltby.com/Home/182-revision-5/',0,'revision','',0),(553,1,'2012-02-25 13:36:07','2012-02-25 13:36:07','By Vera Fletcher\r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\r\n\r\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','On DrumChasers... \"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','inherit','closed','open','','174-revision-6','','','2012-02-25 13:36:07','2012-02-25 13:36:07','',174,'http://www.ethanlewismaltby.com/Home/174-revision-6/',0,'revision','',0),(554,1,'2012-02-25 13:45:14','2012-02-25 13:45:14','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n&nbsp;\r\n\r\nDrumming up a storm of a show.\r\n\r\n&nbsp;\r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n&nbsp;\r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n&nbsp;\r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n&nbsp;\r\n\r\nReview by Chris Denham','Kentish Gazette','On Noise Ensemble... \"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','inherit','closed','open','','454-revision-4','','','2012-02-25 13:45:14','2012-02-25 13:45:14','',454,'http://www.ethanlewismaltby.com/Home/454-revision-4/',0,'revision','',0),(555,1,'2012-02-25 13:49:50','2012-02-25 13:49:50','Southern Echo – The Nuffield, Southampton\r\n\r\n&nbsp;\r\n\r\nForgive me for banging on about how good this is…\r\n\r\n&nbsp;\r\n\r\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\r\n\r\n&nbsp;\r\n\r\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\r\n\r\n&nbsp;\r\n\r\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','On Noise Ensemble... \"Is there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\"','inherit','closed','open','','458-revision-3','','','2012-02-25 13:49:50','2012-02-25 13:49:50','',458,'http://www.ethanlewismaltby.com/Home/458-revision-3/',0,'revision','',0),(556,1,'2012-02-25 13:50:24','2012-02-25 13:50:24','At The Theatre.co.uk - June 2006\r\n\r\n&nbsp;\r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n&nbsp;\r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n&nbsp;\r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-5','','','2012-02-25 13:50:24','2012-02-25 13:50:24','',463,'http://www.ethanlewismaltby.com/Home/463-revision-5/',0,'revision','',0),(557,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','On DrumChasers...\"The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...\"','inherit','closed','open','','172-revision-8','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',172,'http://www.ethanlewismaltby.com/Home/172-revision-8/',0,'revision','',0),(558,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement...\"','inherit','closed','open','','188-revision-12','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',188,'http://www.ethanlewismaltby.com/Home/188-revision-12/',0,'revision','',0),(559,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','On DrumChasers... \"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-9','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',176,'http://www.ethanlewismaltby.com/Home/176-revision-9/',0,'revision','',0),(560,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming &amp; exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades &amp; Vinnie (James Hulme &amp; James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-25','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',168,'http://www.ethanlewismaltby.com/Home/168-revision-25/',0,'revision','',0),(561,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Brighton Argus –  Theatre Royal,Brighton\r\n\r\n&nbsp;\r\n\r\nA Different Drum\r\n\r\n&nbsp;\r\n\r\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\r\n\r\n&nbsp;\r\n\r\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\r\n\r\n&nbsp;\r\n\r\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','On Noise Ensemble... \"In highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments.  The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.\"','inherit','closed','open','','460-revision-4','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',460,'http://www.ethanlewismaltby.com/Home/460-revision-4/',0,'revision','',0),(562,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Mid Hants Observer – Noise Ensemble -  The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','On Noise Ensemble... \"a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show.\"','inherit','closed','open','','449-revision-7','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',449,'http://www.ethanlewismaltby.com/Home/449-revision-7/',0,'revision','',0),(563,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','On DrumChasers...\" very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-8','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',184,'http://www.ethanlewismaltby.com/Home/184-revision-8/',0,'revision','',0),(564,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','On Courtenay... \"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-9','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',225,'http://www.ethanlewismaltby.com/Home/225-revision-9/',0,'revision','',0),(565,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','On DrumChasers...\"Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\"','inherit','closed','open','','186-revision-6','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',186,'http://www.ethanlewismaltby.com/Home/186-revision-6/',0,'revision','',0),(566,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','On DrumChasers...\"The music was just great listening...It was immense...\"','inherit','closed','open','','182-revision-6','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',182,'http://www.ethanlewismaltby.com/Home/182-revision-6/',0,'revision','',0),(567,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','By Vera Fletcher\r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\r\n\r\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','On DrumChasers... \"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','inherit','closed','open','','174-revision-7','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',174,'http://www.ethanlewismaltby.com/Home/174-revision-7/',0,'revision','',0),(568,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n&nbsp;\r\n\r\nDrumming up a storm of a show.\r\n\r\n&nbsp;\r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n&nbsp;\r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n&nbsp;\r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n&nbsp;\r\n\r\nReview by Chris Denham','Kentish Gazette','On Noise Ensemble... \"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','inherit','closed','open','','454-revision-5','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',454,'http://www.ethanlewismaltby.com/Home/454-revision-5/',0,'revision','',0),(569,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','Southern Echo – The Nuffield, Southampton\r\n\r\n&nbsp;\r\n\r\nForgive me for banging on about how good this is…\r\n\r\n&nbsp;\r\n\r\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\r\n\r\n&nbsp;\r\n\r\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\r\n\r\n&nbsp;\r\n\r\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','On Noise Ensemble... \"Is there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\"','inherit','closed','open','','458-revision-4','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',458,'http://www.ethanlewismaltby.com/Home/458-revision-4/',0,'revision','',0),(570,1,'2015-06-17 23:07:36','2015-06-17 23:07:36','At The Theatre.co.uk - June 2006\r\n\r\n&nbsp;\r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n&nbsp;\r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n&nbsp;\r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-6','','','2015-06-17 23:07:36','2015-06-17 23:07:36','',463,'http://www.ethanlewismaltby.com/Home/463-revision-6/',0,'revision','',0),(571,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','By Jonathan Wilkes\r\n\r\nNoise Ensemble’s epic musical DrumChasers, replacing vocals with percussion, is an explosive display of sound and light. Eleven virtuosic performers with endless energy and talent offered a mesmerising experience and a beautiful story.\r\n\r\nCaretaker at a concert hall, Mr Bennett (Jack Warner), witnesses a doorway opening to a dystopian world where people play percussion instruments, inlcuding drums, xylophones and triangles, as communication. And Noiseland’s inhabitants play extremely well, never missing a beat.\r\n\r\nA Dr Seuss-esque narration by Stephen Fry tells us they are caught in an age-old feud. War is prevented only by the mystical powers of the Noise Wrangler and her purple lightsabres. A blossoming Romeo and Juliet romance and a discovery by Mr Bennett however could lead to peace.\r\n\r\nThe truly spectacular DrumChasers leaves one in awe of how every element worked in exquisite harmony. It perfectly balanced gravitas and self-deprecation so the audience (which should have been bigger) never doubted Noise Ensemble’s soulful tale.\r\n\r\nThe melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful, stentorian drumming quickly followed by more melodious, playful flourishes on xylophones and glockenspiels.\r\n\r\nIt had action, romance, poignancy and comedy – a pitch-black performance with glow-in-the-dark levitating drums being especially funny. The industrial set and apocalyptic costumes, and a literally breath-taking lighting design, really enhanced the production.\r\n\r\nSpecial mention must go to Georgina King for the exhilarating choreography and to composer, director and creator Ethan Lewis Maltby.\r\n\r\nHis resplendent production is a profoundly affecting and memorable theatrical experience.\r\n\r\nHere’s hoping the doorway to Noiseland opens again.','The York Press','On DrumChasers...\"The melodious music, accompanied by a spellbinding orchestral and electric score, was extraordinary: powerful...\"','inherit','closed','open','','172-revision-9','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',172,'http://www.ethanlewismaltby.com/Home/172-revision-9/',0,'revision','',0),(572,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','The Stage - Review of Courtenay.\r\n\r\nTouring two prominent south east theatres and focusing on Kent\'s heritage creates a sense of identity for local audiences. However, its appeal would undoubtedly attract a wider audience should Bright Start Productions, in association with the Stag Theatre, Sevenoaks, choose to lengthen their tour. The plot reveals the impulsive Sir William Courtenay, revolutionary and suspected madman. With the energetic strains of Les Miserables, the large cast is headed by Loren Geeting in the title role. It is no surprise Geeting has won awards for his voice as he commands centre stage in both voice and stature. With a Macheath-like charm, Courtenay seduces local protester Sarah Culver (Renée Salewski) though the relationship does not lessen the action. Salewski appears childlike yet her voice reveals a maturity and control demanded of a lead role. Supporting character Katherine Tom (Antonia Bond), Courtenay\'s forgotten wife, appears fleetingly yet captures the sense of the wronged party. Sarah\'s sweetheart Nicholas Mears, played by David Wyatt, is well cast as tragically young and impulsive. Although the scenes seemed more like montages, Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement and the East Kent Living History and Re-Enactment Unit, in full uniform and firing as though their lives really did depend upon it.','The Stage','On Courtenay... \"Christopher Neame\'s script is a good balance of action and romance. George Roman directs and Ethan Lewis Maltby\'s score is beautifully written. This musical sees some spectacular conflict scenes thanks to Paul Romang\'s fight arrangement...\"','inherit','closed','open','','188-revision-13','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',188,'http://www.ethanlewismaltby.com/Home/188-revision-13/',0,'revision','',0),(573,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','By Angie Johnson\r\n\r\nDrumchasers is a fusion of everything that’s great about live performance. It has terrific music and dancing, an intriguing set and one of the best lighting designs I’ve ever seen in the theatre. Above all it has a unique idea that fascinates while it entertains. Featuring every percussion instrument you can think of, and more, this is one fabulous evening out.\r\n\r\nThe story that frames all this expertise revolves around Mr Bennett (an assured performance by Jack Warner offering plenty of comic relief), an elderly Concert Hall caretaker looking after the instrument store, which one night is magically subsumed into the percussive otherworld of the Drumchasers. Energy is the keynote of this show — powerful drumming and dance create an epic world where an eternal battle between two opposing forces is played out with a myriad of different percussion instruments. But as with all good epics, there is also a love story amid the conflict, which allows for the interweaving of sequences using more gentle sounds such as the marimba. It’s a cleverly wrought plot that enables great variation in the sound and dance sequences.\r\n\r\nSometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad, but it’s always well realised. Importantly, it’s a show that takes its themes seriously but never veers into the pretentious. This is helped by the whimsy-free narration provided by Stephen Fry. The cast of ten are all terrific in both the playing and dancing departments. Each of them have their own intriguing character and accomplished special sequences, and when they come together as an ensemble they are simply mind-blowing. The choreography by Georgina King works fantastically well with the overall vision of Ethan Lewis Maltby, the composer, creator and director.\r\n\r\nThere is also a bit of non-threatening audience participation (synchronised clapping!) which was great fun and made us all feel part of this truly spectacular event. If ever a show deserved a run in the West End it’s this one.','The Oxford Times','On DrumChasers... \"Sometimes it’s loud, stirring or martial, sometimes funny, softly romantic or sad...simply mind-blowing...\"','inherit','closed','open','','176-revision-10','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',176,'http://www.ethanlewismaltby.com/Home/176-revision-10/',0,'revision','',0),(574,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','DrumChasers at the Civic – A New Masterpiece\r\n\r\nBy Andy Bramfitt\r\n\r\nYou know, with all the social media, tweeting, facebook etc I honestly thought that the days of finding a new show for which I had no ideas, expectations or pre-conceptions was sadly over. (To tell you a secret, all my life I have wished I had been in the audience for the first showing of the Rocky Horror Show, way back before the midnight costume parties and the huge cult following but alas no, I was destined just to be a follower.)\r\n\r\nWell after tonight I honestly believe that in years to come I can stand proud and say “Yes, I saw it before they took the West End by storm”.\r\n\r\nEthan Lewis Maltby’s DrumChasers is unlike any other show I have ever seen; a mesmerising blend of unbelievable drumming coupled with beautiful dancing all set to a futuristic tale of power, rivalry and love. Actually, to say its all drumming is doing a grave dis-service to the whole percussion experience including some truly beautiful glokenspiel melodies. This is story-telling-without-words at its best and it had me hooked from the first beat to the very last.\r\n\r\nGeorgina King’s choreography is wonderfully synchronised, evocotive and yet simple, but it’s not until you really watch the stage that you realise that it’s no mean feat to match expressive dance with demanding drumming &amp; exacting rhythms.\r\n\r\nMake no mistake, this is not a show of 10 drummers simply stood on stage; each character has their own story, their own personality which they bring to the fore through genuine acting (there is no dialogue at all which makes the story telling even more engaging) and very quickly you understand the premise of the show, even before Stephen Fry’s narration of the Noiseland Tale (written by Jenna Donnelly) comes in about half way through act 1.\r\n\r\nThe story, without wanting to give too much away, is about a race of people, the Drumchasers from Noiseland, who, through the loss of a worshipped relic become fractured and warring. This relic finds it’s way to earth and is discovered by Mr Bennet, a stage caretaker (played wonderfully by somebody’s grandad – actually its none other than Mr Jack Warner). His unwitting discovery prompts the Drumchasers and their guardian peacekeeper Weckl (deliciously played by the vampish Rachel Stock) to come to earth and continue their rivalry. This is done through what I can only describe as battle drumming, a sort of dance off using percussion.\r\n\r\nThrough all of this we are treated to the impish mischief of Gene (played by Amy Kelly), the macho posturing of Blades &amp; Vinnie (James Hulme &amp; James Godfrey) and an age old story of two lovers from the opposite sides. Playing out like a futuristic West Side Story, Buddy (a very dishy Simon Morgan-Thomas, according to my daughter) and Eve (a very cute Stephanie Clarke) try to unite the two sides but as with all torn-lovers tales, it is far from easy.\r\n\r\nAs the story works towards its conclusion the beats become more frantic, the surprises get bigger and the choreography even more impressive (there’s a great scene set in almost complete darkness – honest, believe me!). I won’t spoil things by telling you the rest of the show, ‘cept to say that you should really seek out this production, take the family and go lose yourself in the rhythm.\r\n\r\nAt the end, once the final curtain came down, there was a quiet sense of awe in the audience, almost like a collective reasoning, like we had shared a moment. We probably had as no-one truly knew what to expect, yet everyone agreed it was awesome.\r\n\r\nThere have been some iconic shows which define or even create their own genres; Riverdance, Cirque de Soliel, The Mousetrap, We Will Rock You – I believe that we have seen another tonight which could do the same – it truly is that special that I urge anyone to treat themselves and go and see it this weekend.','What\'s On Northeast','On DrumChasers...\"It had me hooked from the first beat to the very last.\"','inherit','closed','open','','168-revision-26','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',168,'http://www.ethanlewismaltby.com/Home/168-revision-26/',0,'revision','',0),(575,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','Brighton Argus –  Theatre Royal,Brighton\r\n\r\n&nbsp;\r\n\r\nA Different Drum\r\n\r\n&nbsp;\r\n\r\nThe ten talented percussionists of Noise Ensemble provided an evening that not only fused remarkable sound with brilliant colours but also wove into the routines extraordinary choreographed movement. At times the fervour of the young players echoed the tribal rituals of Africa and theSouth Seas. Every conceivable variety of drum was used along with anything else that could be struck, scraped or shaken. These were backed on occasions by guitar and a soundtrack of electronic music which had an ethereal quality.\r\n\r\n&nbsp;\r\n\r\nThe evening was not all heavy passion – it was laced with gentleness and humour. Subtle and tender sounds came from such instruments as the vibraphone, the xylophone and even the humble triangle, in all its differing sizes. Humour pervaded the evening with a witty send-up of satellite TV channels depicted on a screen at the rear of the stage and several comic numbers. These included a mime using different sounds for various body movements , the boredom of the percussion section as they awaited their brief moments of glory at the end of a symphony and a number where the drummers chased and played their instruments which took on a life of their own as they flew around the stage.\r\n\r\n&nbsp;\r\n\r\nIn highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments. All the instruments shone but the stars of the evening were the drums which throbbed and pulsated throughout. The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.','Brighton Argus','On Noise Ensemble... \"In highlighting the percussion instruments normally relegated to the back of an orchestra, director and composer, Ethan Lewis Maltby has created a dazzling showcase for these Cinderella instruments.  The response of the audience showed that the evening, if you will forgive the pun, was a thumping great success.\"','inherit','closed','open','','460-revision-5','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',460,'http://www.ethanlewismaltby.com/Home/460-revision-5/',0,'revision','',0),(576,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','Mid Hants Observer – Noise Ensemble -  The Nuffield, Southampton\r\n\r\nAn extract from the article/review “Tub thumping”\r\n\r\nIt was with some trepidation that I approached Noise Ensemble, billed as an “international percussion sensation”… Any misgivings I may have had were instantly extinguished when a voice announced that the following performance would contain “graphic beatings and scenes of a percussive nature.” A statement of intent that hinted that Noise Ensemble didn’t take itself too seriously. From this point on we were treated to a riotous evening of non stop entertainment.\r\n\r\nNoise Ensemble is a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show. A couple of legible entries mention rock band with xylophones (certainly no bad thing in my book ), the tongue in cheek cable TV-style interludes, and a real ‘vaudevillian feel’ (don’t ask how I wrote that in the dark), with comic interludes reminiscent of traditional circus clowns.\r\n\r\nMusically speaking, there were moments of jaw-dropping beauty, particularly the interplay between marimbas, xylophones and the rest of the percussive arsenal. Noise Ensemble covers a lot of ground. Late in the set we were treated to some 70s style wah-wah guitar and choreography that appeared to pay homage to West Side Story, unsurprising elements when you consider the composer’s background in film scores.\r\n\r\nNoise Ensemble is certainly unique, relentlessly entertaining and shot through with plenty of humour, delivered by an impossibly good looking cast. It’s an energetic show that I would have no hesitation in recommending to audiences of all ages. Another demonstration of The Nuffield’s commitment to original and spectacular productions. On top of that I’ve had to reappraise my relationship with drums and drumming. For now at least.','Mid Hants Observer ','On Noise Ensemble... \"a new and unique twist on musical theatre, with Ethan Lewis Maltby’s score brought vividly to life by a troupe of ten young, beautiful and obscenely talented percussionists. My notes from the night are sketchy at best, a reflection of how much I was enjoying the show.\"','inherit','closed','open','','449-revision-8','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',449,'http://www.ethanlewismaltby.com/Home/449-revision-8/',0,'revision','',0),(577,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','Review by Peter Lathan (2011)\r\n\r\nThe advertising for DrumChasers promises \"an evening quite unlike anything you’ve seen before.\" It is, we are told, \"a musical without words, but with drums.\"\r\n\r\nIt\'s a percussion show, from drum kit to triangle, from gong to xylophone. A cast of eleven (plus voice-over by Stephen Fry) play their carefully and tightly choreographed way through a variant on the Romeo and Juliet story set in a parallel world, Noiseland, which somehow bursts into our world in an old concert hall where caretaker Mr Bennett, played by Jack Warner, looks after the instruments stored there. He is to be the instrument (pun intended) which solves Noiseland\'s age-old problems and bringing back peace.\r\n\r\nAnd that\'s not a spoiler: it\'s in the advertising!\r\n\r\nThis could be the recipe for something cringingly self-indugent, and that feeling was exacerbated by the fact that, because I arrived early and was on my own for this show, I read the programme before it started. There, on the first inside page, was an introduction, written in verse which could have been penned by that master of the appalling rhyme, William McGonagall. My heart sank!\r\n\r\n(Those who don\'t know McGonagall really should look at McGonagall Online and marvel!)\r\n\r\nIf I say that, about a third of the way through the first act, these words are spoken by Stephen Fry, you will realise - as I did at that moment - that this is not a show that takes itself too seriously. Indeed, it is shot through with self-deprecating humour, subverting any expectation that we are going to get a tragedy - or even a melodrama. And it gets that balance between humour and the seriousness required to interest us in the story exactly right.\r\n\r\nWhat DrumChasers actually is is very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. The movement of the instruments on, off and around the stage (by the cast) is smooth and quick and the costumes and make-up were close to but not exactly of this world, nicely contrasted with Mr Bennett\'s brown coat and flat cap. I did wonder if the sticks which the Noise Wrangler uses to control her people were meant to remind us of Jedi light sabres. They certainly did me.\r\n\r\nBut it is the performances which will stick in the memory. There was a number (I can\'t think of any other word) in which two opposing faction members fought each other, circling back and forth round two xylophones placed centrestage and never missing a note or even for a second losing their confrontational body language and expressions. And a comic highlight was a duel between two triangle playing cast members.\r\n\r\nGreat fun!','Great British Theatre','On DrumChasers...\" very entertaining, even for those who are not particularly interested in percussion. The skill, talent and commitment of the performers are amazing and the lighting - inevitably very rock concert influenced - impressive. \"','inherit','closed','open','','184-revision-9','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',184,'http://www.ethanlewismaltby.com/Home/184-revision-9/',0,'revision','',0),(578,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','Long after the smoke has drifted from the battlefield, audiences will remember Courtenay.\r\n\r\nThis musical plucked from the Kentish history books - and fashioned into a sophisticated entertainment by a composer and lyricist relatively new to the genre – deserves its place on a wider stage.\r\n\r\nBy turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\r\n\r\nWhile paying plentiful homage to his first musical love, percussion, the score has pace, vitality and, dare I say it, hummability and while that may not be fashionable it certainly helps to convince ticket-buyers that they have had their money’s worth. See a show and take a tune away with you is no bad slogan even for a modern musical.\r\n\r\nEach of the central characters in Courtenay has a haunting theme of his or her own which blend to great effect at moments of tenderness, for this show is not all about dreams of the 19th century working man finding his true worth under the sleety, unforgiving gaze of establishment figures.\r\n\r\nLyricist Christopher Neame has taken a complex subject and given a perspective to Courtenay\'s story that many historians have discarded in favour of a simplistic view that the protagonist was mad and all his followers simple. The lyrics, particularly those given to Courtenay are intelligent without being polemical.\r\n\r\nAt the opening at Canterbury’s Marlowe Theatre on Thursday it was hard to find any chinks in this emotive story of one man\'s slide from visionary enthusiasm to self-delusion and destruction. There were some technical problems, chiefly with the sound balance, but the principals and ensemble worked together to produce a first night to be proud of.\r\n\r\nThe show is fortunate in having a trio of voices at the top that would match the best the West End has to offer. Loren Geeting as Courtenay, Renée Salewski as the object of his desire, Sarah Culver and David Wyatt as Nicholas Mears, the lover cast aside by Culver for Courtenay’s more dazzling attractions, are a class act. Wyatt has a voice that we will hear again and again if the scouts are doing their job and Geeting and Salewski both live up to their credentials.\r\n\r\nLindsey Mack as the Canterbury Marshal, Captain Townsend, cuts a dash darkly as the man who is out to thwart Courtenay\'s egalitarian ambitions. His presence is like that of a sinister crow. Antonia Bond generates tenderness as the wife Courtenay left behind, struggling to understand her husband’s wild side and Anthony Garner provides a solid presence as the narrator Everyman who guides the audience, many of whom will be unfamiliar with the story, carefully and unobtrusively.\r\n\r\nSet design is also instrumental to the success of this show. Veteran film and TV designer Roy Stannard, a newcomer to the theatre whose credits include David Lean\'s Lawrence of Arabia, has produced a simple, yet effective raked platform in which most of the action is concentrated, focusing the attention perfectly.\r\n\r\nAll this is overseen by a reaper, a simple agricultural machine seen as the means by which the landowner will emasculate the labourer.\r\n\r\nAs the show opens, the machine, cast as the grim reaper, dominates a stark scene as the countrysiders who will come to follow Courtenay, scrape a living from the soil while sinister clouds drift across the landscape. The climate of fear is brought home by blood-red effects schemed by Ben M Rogers, a lighting designer with many West End and international credits to his name, whose skills help to create Courtenay\'s many memorable moods.\r\n\r\nThis homespun show is something Kent can be proud of and one that audiences anywhere would appreciate. Surely local history was never this alive, or so worthy of the standing ovation it got on Thursday.\r\n\r\nRussell Flint','Kent on Sunday','On Courtenay... \"By turns exciting and tender, thought-provoking and uplifting, Courtenay is set around 20 years after the Peterloo massacre and looks behind the curious story of the last battle to be fought on English soil and makes a cracking, three-dimensional show of it. Composer, orchestrator and musical director, Ethan Lewis Maltby, not yet 30 but nevertheless a self-confessed fan of the swashbuckling era, has sewn a rich seam of interwoven themes throughout the two acts. His music hits spot.\"','inherit','closed','open','','225-revision-10','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',225,'http://www.ethanlewismaltby.com/Home/225-revision-10/',0,'revision','',0),(579,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','It is not very often that one gets to see a world premiere, especially a world premiere in Blackpool, so we were delighted to be able to go and see the first ever performance of the new percussion based musical DrumChasers at the Blackpool Grand Theatre. Having not seen the previous “Noise Ensemble” we really did not know what to expect and went along with completely open minds. Think Ultravox (John Foxx version) do Coppelia, Doctor Who does West Side story and the Terminator meets Les Mis and you’re part way there.\r\n\r\nOddly enough, the caretaker - Mr Bennett - who starts off looking like a bedraggled Blakey out of “On The Buses” -ends up the hero in this tale of factions of warring musicians from another world, which is delightfully narrated by an absently bodied Stephen Fry. Apart from Fry’s outlining of the story, there are no words at all – no dialogue, no singing, more akin to a ballet in fact, relying purely on expressive dance routines and plenty of percussion as the story is told through a succession of musical numbers of varying dramatic gravitas. But this is not just two hours of mindless heavy drumming by any means. In a well balanced score that could easily grace a Hollywood sci fi blockbuster, we have a drummers duel, a piece played solely on the triangle and a romantic glockenspiel moment . There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\r\n\r\nAwesome! Spellbinding! Magical! DrumChasers puts you in touch with the primitive being inside you, and in two of the numbers the audience were invited to join in. We loved every minute – from start to finish a fantastic fairytale. Marvellous choreography – the grim set and the war scenes were reminiscent of Les Miserables. Superb performances from talented and versatile musicians/dancers. If only we could somehow learn to harness the energy generated by the dynamic performers on the set of DrumChasers we could indeed save the world from nuclear meltdown. This is not mainstream theatre by any means but all the same absolutely unmissable. Please go and see it.','Best Kept Secrets','On DrumChasers...\"Awesome! Spellbinding! Magical!...There are several enchanting xylophone melodies – bringing to mind dreamy images of tropical rain forests or trickling streams or wherever your own thoughts might take you, carried off by the music.\"','inherit','closed','open','','186-revision-7','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',186,'http://www.ethanlewismaltby.com/Home/186-revision-7/',0,'revision','',0),(580,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','WHAT A Show, Drumchasers has certainly promised a great evenings entertainment in Torquay – This is something that you’ve NEVER Seen before, it is a Musical, without words – but a Hell of a lot of drums!!\r\n\r\nFeaturing the Voice of Stephen Fry, this show has everything, Music, Action, Comedy, Fun, Energy! It was immense. I was so glad to be able to see this show in Torquay, it was a shame to see that the 1,500 seater venue was only a third full, which was a real shame, as the amount of energy that each cast member put into this show – was totally amazing.\r\n\r\nThe music was just great listening, and certainly put a smile on your face watching, my mother in fact took a short video of the show, and I hope that we’re not breaching any copyright laws, but I feel that other people should see HOW amazing this show actually is.\r\n\r\nThe show features all percussions from a Triangle to a Drum, and an amazing 10 minute piece to a Xylophone. A Cast of 11 play with their hearts content, this amazing choreographed production though a Romeo and Juliet story set in ‘Noiseland’ world, which expands into the Human world of an old Theatre where the caretaker ‘Mr Bennett’ played by Jack Warner looks after the instruments which are stored there, he’s the one that solves the way which brings back the peace to everyone at Noiseland.\r\n\r\nDrumchasers is an entertaining piece of work, and the skill which is used throughout the show, not just playing the instruments by dancing with them, and making the show come alive is amazing. The Sound was superb, and the Lighting – Wow, It was FANTASTIC! The lighting designer for this show must be very proud, and I Can imagine very fun to design.\r\n\r\nThis is a NEW Show, and I understand why there maybe wasn’t so many people – But, if this show comes near you, it’s 100% worth a watch! Buy Tickets!!\r\n\r\nPLEASE Come back to Torquay Drumchasers!','Talk Torbay','On DrumChasers...\"The music was just great listening...It was immense...\"','inherit','closed','open','','182-revision-7','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',182,'http://www.ethanlewismaltby.com/Home/182-revision-7/',0,'revision','',0),(581,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','By Vera Fletcher\r\n\r\nDrumChasers sells itself as an explosion of sound and light with a story of romance, rivalry and rhythm and it doesn\'t disappoint. Think Romeo and Juliet with drumsticks (and without the poison). The synopsis of the show tells the story of Mr Bennett, a caretaker in an old concert hall who looks after the instruments stored within its walls. However, one night, something happens, something loud and something otherworldly and he is transported to the land of the DrumChasers. I felt this premise got a bit lost within the first ten minutes, Mr Bennett being swiftly cast aside from view and frantic, captivating drumming prevailed. Just when I had almost written off the storyline as a feeble excuse for a night of intoxicating percussion, the soothing tones of Stephen Fry stepped in to narrate and educate the audience on The Noiseland Tale. Aside from the intermittent guidance of Mr Fry this story was told solely through the use of incredibly skilled drumming, expressive dance and imaginative lighting. Armed with drumsticks as weapons, the fight scenes made convincing battles with emotional integrity. The underlying love story was a particular highlight which needed no explanation, proving some of the best stories are wordless.\r\n\r\nThe performance was polished and professional and the story gained in momentum and strength as the show progressed. Mr Bennett too, being given a bit more stage time to ingrain himself in the performance. The drumming was electric and the energy was infectious, at times it took great pains not to jump up and join in from the aisles. Thankfully towards the shows end there was opportunity to participate rhythmically from the safety of your seat which culminated in a loud surge of release from the audience of previously bottled toe tapping and hand clapping.\r\n\r\nAlong the same vein, if you liked Stomp you\'ll love DrumChasers, an uplifting, enjoyable night out even for those with no rhythm.','RemoteGoat','On DrumChasers... \"A night of intoxicating percussion...the energy was infectious, at times it took great pains not to jump up and join in from the aisles.\"','inherit','closed','open','','174-revision-8','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',174,'http://www.ethanlewismaltby.com/Home/174-revision-8/',0,'revision','',0),(582,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','Kentish Gazette – Marlowe Theatre,Canterbury\r\n\r\n&nbsp;\r\n\r\nDrumming up a storm of a show.\r\n\r\n&nbsp;\r\n\r\nThe drummers’ union was out in Canterbury in force last week with an awesome demonstration of percussion and orchestral drumming. My expectations were lowered by the presence of a poster quote, comparing it to the woeful cheese of Riverdance, but thankfully this was so much better.\r\n\r\nNoise Ensemble has grown from its beginnings as a small show at the Edinburgh Fringe to a wonderful show of dance and drums. Actually, mainly drums.\r\n\r\n&nbsp;\r\n\r\nThe 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers.\r\n\r\n&nbsp;\r\n\r\nWhy this show has not become as big a hit as rival Stomp, I can’t understand.\r\n\r\n&nbsp;\r\n\r\nReview by Chris Denham','Kentish Gazette','On Noise Ensemble... \"The 10 percussionists were playing the music ofCanterbury’s Ethan Lewis Maltby in a spectacular display of co-ordination and pure musicianship that had musicians such as myself cursing their overabundance of talent. Beautiful marimba and vibes’ playing mixed with martial snare and tom work and there were comedy interludes with flying drums and cable TV for drummers. Why this show has not become as big a hit as rival Stomp, I can’t understand.\"','inherit','closed','open','','454-revision-6','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',454,'http://www.ethanlewismaltby.com/Home/454-revision-6/',0,'revision','',0),(583,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','Southern Echo – The Nuffield, Southampton\r\n\r\n&nbsp;\r\n\r\nForgive me for banging on about how good this is…\r\n\r\n&nbsp;\r\n\r\nIs there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\r\n\r\n&nbsp;\r\n\r\nWe were treated to all manner of things from drumstick throwing to seemingly flying drums and from spinning dance routines to comedy noise sketches. And the on-stage Noise TV screen was showing Drum DIY, drum survival, percussion exercise classes and the drumming world championships. The cast of 10 burst on to stage for this high-energy and incredibly loud display of drumming at its best.\r\n\r\n&nbsp;\r\n\r\nWhat follows is more of a theatrical experience than a musical one – with set changes every few minutes and performers who play everything from marimbas and maracas to triangles and tom-toms. It combines music, dancing, visual effects and even has a sense of humour. It made me wish I was a little better at banging things with a stick.','Southern Echo','On Noise Ensemble... \"Is there nothing this lot can’t do with a drum? After enjoying two hours of percussive genius from Noise Ensemble, I suspect not. You may think that is overly long for a show which is simply based on banging a big instrument with a stick. But there is so much more to it than that.\"','inherit','closed','open','','458-revision-5','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',458,'http://www.ethanlewismaltby.com/Home/458-revision-5/',0,'revision','',0),(584,1,'2015-06-18 20:14:43','2015-06-18 20:14:43','At The Theatre.co.uk - June 2006\r\n\r\n&nbsp;\r\n\r\nA show for everyone, especially those fond of percussion!\r\n\r\n&nbsp;\r\n\r\nA supreme mix of percussion, drama, dance and comedy; this vibrant show bursts on to the stage with raw energy. The show opens amidst a smoke screen, and with its highly animated performers, the show erupts with a fusion of powerful drumbeats.\r\n\r\n&nbsp;\r\n\r\nConsisting of a variety of music, instruments ranging from tambourines to triangles as well as a wide range of drums, the talent of the vigorous performers is more than impressive. With a variety of music, the show cleverly incorporates comedy sketches to suit every composition; as well as a video screen background introducing the characters whilst comically presenting the world of drumming. The performers extensively use the stage space with ferocious movement, whilst the instruments almost transform into characters themselves.\r\n\r\nAlso visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. This masterfully choreographed show leaves the audience in awe. With an impressive range of instruments and 10 incredibly talented and energetic performers, this fast and furious show is a drumming delight.','At The Theatre.co.uk','On Noise Ensemble... \"Also visually pleasing, the performers depict an impressive visual spectacle during every musical piece, making the show not only rewarding to hear, but also magnificent to watch. With epic beats and a stormy score, the show borders apocalyptic. \"','inherit','closed','open','','463-revision-7','','','2015-06-18 20:14:43','2015-06-18 20:14:43','',463,'http://www.ethanlewismaltby.com/Home/463-revision-7/',0,'revision','',0);

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