Séance is Rosenberg and Neath’s best collaboration to date, a creepy and manipulative miniature which unsettles and makes you question not just your senses but what you actually believe’- Lyn Gardner, The Guardian 4**** (Latitude) - Full review here

’It was brilliant, mischievous audio trickery’ - Harriet Fitch Little, Financial Times (Latitude) - Full review here

‘Seance felt perfectly contained and completely absorbing, spine-tingling’ - Lauren Mooney, The Stage 4****  (Latitude) - Full review here

‘If you've got the spine, Seance brings the tingle’ - Cameron Woodhead, Sydney Morning Herald (Melbourne) - Full review here

‘Fortunately, it has a slew of performances every day, otherwise people would be climbing over each other trying to bag tickets’ - Rory Ford, The Scotsman 4*** (Edinburgh) - Full review here

‘The experience created is so intense, immediate and startling that it's really quite overwhelming’ - Tamarin Fountain, Fringe Guru 4****  (Edinburgh) - Full review here

‘Imagine all the terror and trepidation surrounding horror films, following sympathetic characters we know are due an undeservingly gruesome fate. Now double, triple, quadruple it, and you’ll be somewhere close to the effect of Séance’ - Katy Minko, The Student Newspaper 5***** (Edinburgh) - Full review here

‘Stupendously sinister, suspenseful immersive theatre’ - Claire Wood, The Wee Review 4**** (Edinburgh) - Full review here

#SeanceSummerhall is a gripping sonic encounter, accomplishing in 15 mins what many productions struggle to do in 1hr. Utter immersion’ - Fringe Biscuit 4**** (Edinburgh)

It is hair-raising, chilling, freaky, and quite different from anything else you’ll see’ - Robbie Armstrong, The Skinny 4**** (Edinburgh) - Full review here

‘This all feels like it’s been done before’ - Chris McCormack, Exeunt Magazine (Edinburgh) - Full review here

‘A spine-tinglingly sensory Halloween treat’ - Heather Kincaid, Whats On Live 4**** (Birmingham) - Full review here

Neath and Rosenberg carve a space where we are left to reflect on our own tendency towards superstition. By depriving us of our bearing and control, one’s ability to rationalise rapidly deteriorates; within minutes, you’re in an almost pagan state of anxiety. Séance demonstrates a virtuosic ability to disorientate and freak out’ - Sean Gilbert, Theatre Full Stop (Latitude) - Full review here

‘I love to be spooked, and this is spooky done right’- Will Amott, Stage Talk 4**** (Birmingham) - Full review here 

‘I had to see Hofesh Schecter, and I had to catch Circa. Christopher Brett Bailey. Jamie Wood. David Rosenberg and Glen Neath. Artists I love, all of them’ - Matt Trueman, WhatsOnStage (Latitude) - Full review here

‘A fully immersive audio experience that takes place in complete darkness, Séance was wonderfully inventive, clever and above all deliciously eerie fun’ - Hannah Marsh, A Younger Theatre (Latitude) - Full review here

‘Glen Neath and David Rosenberg are pioneers of binaural sound art, and it works a spooky treat here’ - Holly Williams, WhatsOnStage - (Latitude) - Full review here

‘Séance is an unnerving experience. It’s spine-tingling, shiver-inducing, hair-stand-on-end stuff’ - Hannah Brierley, Redbrick (Birmingham) - Full review here 

‘Fancy being locked up in a shipping container for 15 minutes and having your very sanity and sense of perception undermined?’ - Giles Logan, Birmingham Wire (Birmingham) - Full review here 

‘this has to be the most immersive and genuinely terrifying productions we have ever visited’ - Scare Tour UK (Birmingham) - Full review here

‘I love the paranormal as a theme, but it’s extremely hard to get it right … Séance, however, did not have that problem’ - Scarefix and Thrill (Birmingham) - Full review here

‘Anticipation of being surprised creates the atmosphere and suspense and cleverly staged audiovisual used to create a sense of a larger scene in the small set provides the rest’ - Nicole Evans, Reviews Hub (Latitude) - Full review here



‘Neath’s text is light, witty and inventive. Instead of a straight approach to the stories, he has weaved in a modern take as an Arabic scholar, Ata Madri, goes in search of a copy of the stories. Hers is not a traditional journey!  The Arabian Nights offers a complete picture: great stories, good acting, excellent writing and beautiful music and effects to accompany’ - Graham Kirby, Tribune


‘As soon as it's over - even earlier, in fact, while it's still going on - it starts to lapse from your memory, fading like an afterimage on your retina. It's the equivalent of a self-destructing letter. It exists to disappear. That's a fascinating prospect: a self-defeating show; theatre so ephemeral it might as well not have happened... Fiction makes for a unique theatrical encounter about the power of suggestion and the workings of your subconscious’ - Matt Trueman, Whatsonstage 4**** (London) Full review here

‘The piece is disorientating and incredibly, intentionally slippery’ - Natasha Tripney, The Stage 4**** (London) Full review here

‘It’s terrifically clever, cunningly manipulative, and fun – provided you’re not scared of the dark’ - Lyn Gardner, The Guardian (London) Full review here

‘The production is slick. It’s beyond slick; it’s incredible. At one point we walk into a room and it fucking smells different’ - Mary Haltom, Exeunt Magazine (London) Full review here

‘Fiction embedded me in a lucid dream that filled me with anxious fantasies of a shared reality, counting down towards something unknown‘ - Lucy Orr, The Register (London) Full review here

‘Crikey. Reviewing David Rosenberg and Glen Neath’s ‘Fiction’ is a bit like reviewing an acid trip: it’s an intense and intensely surreal experience that almost seems so out of its creators’ control that it’s hard to know what to ascribe to them and what to your own subconscious’ - Andrzej Lukowski, Time Out (London) Full review here

The effect is disquieting, disconcerting, and at times overwhelming’ - Ruth Hargreaves, The Londonist (London) Full review here

We're still not sure what happened in Fiction - baffling, unsettling & compelling stuff’ - CultureWhisper (London) Full review here

‘Fiction is the kind of thing you want at the fringe: a unique and memorable experience; a strange story to tell’ - Ralph Jones, The Observer (London) Full review here

‘Directors David Rosenberg and Glen Neath (also the writer) explicitly set out to create a 'dream-like experience', and have succeeded in spades. It is wonderfully disorientating’ - 5* - Henry St Leger, Broadway Baby (Edinburgh) Full review here

‘...a fascinating and enthralling immersion into a world of sound, smell and even touch’ - Graeme Strachan, British Theatre Guide 4**** (Edinburgh) Full review here

‘This is, however, a unique and interesting concept, completely different from everything else on the Fringe’ - Jaclyn Martin, The Public Reviews 4**** (Edinburgh) Full review here

‘David Rosenberg and Glen Neath's binaural experience grips uneasily, threateningly, uncompromisingly’ - Colin Snell, remotegoat 4**** (Edinburgh) Full review here

‘By far the most impressive piece of work I’ve so far seen at this year’s Edinburgh, Fiction is an overwhelming, challenging and nourishing experience – and one I won’t forget’ - West Camel, Culture Compass (Edinburgh) Full review here

‘The experience is like being trapped in a David Lynch wonderland’ - Zoe Atherfold, EdFestMag (Edinburgh) Full review here

‘Fiction is a brilliantly unique theatre experience’ - Christine Lawler, Fringe Review (Recommended Show) (Edinburgh) Full review here

A cinema of attractions for the ear’ - Robert Dow, TV Bomb 4**** (Edinburgh) Full review here

Surreally, it often felt that I was being dreamt, that I was an imagining of the voice’s dream rather than the voice being an imagining of mine’ - Patrick Galbraith, Three Weeks 4**** (Edinburgh) Full review here

‘Playing out almost entirely in complete darkness it is an exercise in courage, patience and self-control, exploring what it feels like to walk between the waking and dreaming world’ - Jafar Iqbal, A Differing View 4**** (Edinburgh) Full review here

‘If you can sit through the first ten minutes curbing the impulse to bolt through the doors, you may well have one of the most memorable experiences at this year’s Fringe’ - Udita Banerjee, Fringe Guru 4**** (Edinburgh) Full review here

‘From almost literally nothing, the director and writer have created a performance which suspends reality with alarming ease. It’s strange and almost unique, and by its very nature has as many potential facets as there are people in the room. The execution is meticulous, as it should be. Ultimately, it’s an experience I would repeat again – despite the existential terror – and one that I’d recommend to anyone with an interest in innovative concepts in performance. Avant garde at its most effective’- Wesley Freeman-Smith, Slate the Disco (Cambridge) Full review here

‘I am still not sure if I slipped into actual sleep and dreamed some of the show, but I remain mostly bemused that I have been able to experience something so very different to any other theatrical or artistic happening’ - Mark Blackham, The Fine Times Recorder (Bournemouth) Full review here


‘This is experiential theatre in the true sense of the word, and is a powerful and provocative work … Works like these redefine theatre … I urge you to take part in this unique and innovative work. I guarantee it will be unlike anything you've experienced’ - Emma Cole, One Stop Arts 5***** (London) Full review here

‘This piece is disconcerting, unnerving, intense, captivating, extremely clever, intriguing and unique … I cannot recommend it highly enough, this is an absolute must “see”’ - Rhiannon Lawson, Whatsonstage 5***** (London) Full review here

‘What makes Ring so brilliant is how it exposes the weaknesses of the human mind and perception. It pits reality against realistic construction of reality, and common sense against physical senses. Great theatre might sometimes make you think, but Ring goes one step further ― it manipulates your very ability to do so. The outcome is totally unnerving but completely thrilling, and allows audience members to share a completely unique experience that is truly one of a kind … Ring shouldn’t be missed’ - Geri Silver, A Younger Theatre (London) Full review here

‘With the theatre’s own information simply describing this as theatre in pitch black, I confess I had dismissed this as a gimmick – “surely that’s just radio” I think may have been the phrase used – how wrong I was … Reviews are often prone to hyperbole and exaggeration but it is no overstatement to say this was one of the most intense theatrical experiences I have had’ - Nick Hitchens, Croydon Guardian (London) Full review here

‘What our role is, and how we work out what’s going on, is the investigation at the centre of the show and it creates an engaging experience that leaves you exhausted despite its brief 50-minute duration’ … unnerving and unmissable’ - Edward Lukes, The London Magazine (London) Full review here

‘Scenes change, funny and horrible things happen, and how it effects you depends upon your own level of paranoia … The imagination is best served by suggestion, which is what makes this unnerving experience so effective’ - Eleanor MacFarlane, The Upcoming 4**** (London) Full review here

‘The brilliance of Ring is that it never strays too far into fantasy, extending its limbs beyond the material membrane without shattering the plausibility of the situation’ - Jack Chuter, ATTN: Magazine (London) Full review here

‘This 'must see' show is not one that I will forget any time soon’ - Sarah Flinton, Westend Broadwayworld (London) Full review here

‘To compare Ring to traditional theatre is foolish, which makes a critical review rather difficult; ‘utterly engaging’ would be an understatement … This is a theatre experience you will kick yourself if you miss, and start to dream differently if you do’ - Daisy Thurston-Gent, Whats Peen Seen? 5***** (London) Full review here

‘Key to the show's singularity is the way it helps you realise how you might feel in uncertain situations by challenging the everyday use of your senses. It grounds you in your own body, plays with the notion of presence and provokes questions about perception and trust’ - Naima Khan, Spoonfed 4**** (London) Full review here

‘It redefines the horribly overused term “immersive”, completely submerging us in a disturbing experience from which we cannot escape’ - Catherine Love, Love Theatre Full review here

‘...mere minutes have passed and I am questioning my own sanity... Creators David Rosenberg and Glen Neath's script confounds, amuses and genuinely unsettles- only in the darkness, it suggests, can we truly see ourselves. Fuel are a theatre company who have created something unique and brilliant here.’ - Lorna Irvine, Across the Arts (London)

‘This is new writing at its absolute best. I am still baffled by how cleverly this show comes together’ - Everything Theatre 4**** (London) Full review here

‘A ringing endorsement for any immersive experience, and especially true in this case. It was unique, terrifying and exhilarating’ - Matthew Mills, Evnt Magazine (London) Full review here

‘What’s exciting about the show, though, is the way it plays with the listener’s position in the story’ - Joyce McMillan, The Scotsman, 4**** (Edinburgh)

‘Ring is one of the most innovative pieces I’ve experienced in a long time’ - Dan Hutton, The Hutton Inquiry (Bristol)

‘I feel as if it’s a play performed entirely for me.  A play for Chris. As the lights come on and I look around, not quite sure what I’ve just been a part of, I begin to file out with everyone else, like participants of an all-night slumber party’- Chris Caldwell, Pasteibap Full review here

‘This piece has a nightmarish, claustrophobic quality and is not for the faint-hearted, yet it is a nightmare that is of our own creation. As Fuel artfully demonstrates, there is much to be made of the power of suggestion’ - Becky Anderson (Coventry) Full review here

‘I spent just as much time grinning inanely into the darkness, as I did hyperventilating. It is, however unnerving; the lights went up to reveal a fair few wide eyes and one girl uncurling from the foetal position. Most importantly, it’s a theatre experience that you have to hear to believe. Go go go.’ - Abbie Salter (blog)

‘Director David Rosenberg's immersive experience is delivered with such intensity that his production is as enlightening on the possibilities of sound as it is on group dynamics and mass manipulation.’ -  Neil Cooper, The Herald 4**** (Edinburgh)


‘The dark is our blank canvas. Chairs are moved, instructions are given, and now we’re part of a circle of characters – what might be described as a self-help group from hell.’ -  Tim Atack, Venue


'Hannah Ringham... the love-child of Tommy Cooper, Sarah Silverman, Karl Marx and an imbecile.' - Tim Crouch

'As well as being intelligently anarchic and curiously touching THE FREE SHOW BRING MONEY is, I think, a significant theatrical exploration. It undermines and unsettles its audience's relationship with the whole process of consuming theatre. In that sense it feels strikingly timely. That it does so with such charm and wit is a real achievement. Written with grace and clarity and performed with as poised directness, it feels like a brilliant cross between Les Dawson and Samuel Beckett..' - Simon Stephens

'A brilliant parody of the Free Fringe and all the awkwardness that comes from deciding how much to pay.' - Sally Stott, The Scotsman 4**** (Fringe Top 10)

'Ringham plays the audience for all she is worth, offering sob stories, fairytales and the promise of a return on an investment... she made about £70 an hour the night I was there - and yes, she was worth it.' - Lynn Gardner, The Guardian 4**** Full review here

‘Ringham is surely committed, but I think what she and writer Glen Neath are doing here may be quite subtle.’- Craig Singer, What’s on Stage 4**** Full review here

‘Ringham’s performance is mesmerising, actually showing us little of the ‘show’ she is trying to elicit money for but showing us the dark side of a performer on the edge.’ - The Public Reviews 4**** Full review here

‘I’m still not sure if this is satirising venality, or deconstructing the financial transaction that is our everyday life, or merely an artist looking for a new way to make money. I dare say the ambiguity is all part of the fun.’ - What’s On Stage 4**** Full review here

‘I keep changing my mind about whether Hannah Ringham’s Free Show (bring money) is offensively bad or ingeniously profound.’ - Xandra Burns, 2** Full review here

‘She gives a series of excellently performed bad performances, pulling off the awkward actor perfectly with a persona somewhere between nervous stand-up and confessional one-woman show. ‘ - Billy Barrett, A Younger Theatre Full review here

‘A fan of the old anti-climax, Ringham offers very little of the performance that she wishes us to pay for... Nonetheless, she still tries to convince us to pay.’ - Sam Kingston Jones, Broadway baby 3*** Full review here

‘As someone with a particularly high threshold for eccentricity, I can unreservedly say this show is bizarre.’ - Anna Eberts, Three Weeks Edinburgh

‘On the other hand, Hannah Ringham makes it really hard to like her.’ - Mary Brennan, The Herald 3*** Full review here


‘Personally, I found the experience invigorating, exciting and emotionally challenging... this was an 'in-your-face' - well, not quite because you can't look at each other - incident that, like all participatory activity, has the potential to change lives. In the 40 minutes this sublime interaction took to evolve, I experienced emotions ranging from acute anxiety to deep affection, from bewilderment to lucidity, from awkward embarrassment to personal buoyancy, and all within the framework of an evolving and thrilling truthfulness... Do I recommend it to you? I certainly do!’ - Lexie Matheson, Full review here

'Hello for Dummies is … exciting and harrowing. The many tensions in the piece — the conversation is scripted but also unpredictable; the interaction is intimate but also impersonal; the performance is public but also private — create a conflicted experience of vigilance and surrender. Entering the cloistered space of shared headphones with a stranger, the actual environment is illuminated like a stage, full of mythic action…'  - Mark Mann, Blouin Art Info Full review here

'The writing is full of a sense of adventure that illuminates the possibilities presented by every new meeting' - 8/10 --- Carly Maga, The Grid TO Full review here

'It's a fascinating experiment in human communication' 4**** - Jon Kaplan, NOW Toronto Full review here

‘Author Glen Neath and Ant Hampton ... are masters of facilitating startlingly intimate, exhilarating, yet carefully controlled encounters that awaken the voyeur and performer in us all.’ - Lee Webster, ...might be good, art e-journal Full review here

‘Such works have a certain intimacy built into them, yes, but they also take that quality beyond putting you close to the staged action – they develop it into a bond among all the members of the audience who have shared the work with you.’ --- Robert Faires, Austin Chronicle Full review here

'The piece’s narrative allows users to both act as characters (by repeating lines) and as “themselves” (answering questions honestly). It flows through realistic and abstract explorations of self-hood and presentation, and questions assumptions of identity and interaction. Because of this, it is well worth any awkward or uncomfortable feelings it may induce. Hello For Dummies also creates some very beautiful moments.' --- Lisa Amerongen, She does the City Full review here

Toronto’s SummerWorks Festival, premiering this week, is shaping up to be more avant-garde then usual... Leading the pack on this is Hello for Dummies.’ - Joel Fishbane, The Charlebois Post


‘Readers tired of traditional narratives will be pleased by Neath's latest offering. His first novel, THE OUTGOING MAN, was praised for its originality, and his second book is deserving of the same. THE FAT PLAN is at once upbeat, quirky, difficult and dark’ - Big Issue


‘In a closet-like pitch black room in one of the fortress' outbuildings we hear a recording of British novelist Glen Neath reading The Breach, a marvellous spoken-word piece that, by way of a neurotic, internal monologue, likens the body to a fortress or submarine that is vigilant against a rupture, sealing off any internal breach as it occurs before the whole thing is overtaken’ -  artnet magazine

‘Here 10 writers including Adriana Cavarero, Arundhati Roy, Thomas Meinecke, and Glen Neath contributed texts inspired by the venue’s history and symbolism; spoken by actors, these were installed there as sound works. The massive architecture was filled with nothing but voices, whispered narrations, echoes, and pauses, transforming each building into the perfect set for a play about memory, fear, paranoia, and control. The radical use of sound alone—except for five silent movies by Harun Farocki, Karø Goldt, Larry Gottheim, Karl Kels, and Michael Snow, screened at the complex’s core—turned the overused concept of site-specificity into a profound and joyful perceptual experience. The blend of theatricality, fiction, and public recollection was absorbing, the conceptualization of recording techniques and emptiness refreshing compared with the current abuse of the image of the “phantom” in the contemporary art debate. This was a convincing and sensitive allegory of Europe’s ambivalent inner nature, expressed through multiple voices, fear, and self-protection’ - Modern Painters

‘What is outstanding in all sections of the show is the use of the different spaces, how the environments play an important role in each of the exhibitions. The most striking of all is certainly the Fortress in Fortezza, a defence bastion from the 1830s, for which all the curators worked together on the exhibition Scenarios, that is formally divided into sound, light and film. They asked novelists, philosophers and artists – among them Renée Green, Glen Neath and Arundhati Roy – to contribute texts that are somehow related to the site or to the process of experiencing this exhibition. These were translated and read by actors, and are played in the different rooms and spaces of the complex that is otherwise left bare. A few chairs by Martino Gamper, put together from old furniture, provide seating; through some of the windows falls artificial light from a piece by Philippe Rahm that exactly mimics the natural light conditions. In a separate building, five silent films are shown. The whole place is a beautiful sensatory experience, of which the original architecture, the recent extensions, the lights and the sounds of the pieces as well as the views and sounds of the surrounding nature are inseparable parts’ -


'A perky greeting card from hell' - Magnus Mills

'A clever left-field debut... surreally witty, it recalls the same European sense of experiment at work in Samuel Beckett, Eugene Ionesco and Magnus Mills...' - The Metro

'We are in a mysterious "organisation" at the Salvador Dali level of reality... This is a little bit like The Prisoner, mixed in with a dash of Are You being Served?' - The Times

'Quirky and blackly satirical, The Outgoing Man emanates a Kafka-esque stench of stagnation and claustrophobia. Neath shows how even the most banal kinds of human interaction take us deep into the realms of the insane, the surreal and the grotesque' - Time Out

'The Outgoing Man, Glen Neath's first novel, is an attempt to do something different... a hint of Kafka, a smidgeon of Beckett, a few drops of unusual and original novel' - Josh Lacey, The Guardian Full review here

'Ultimately, if The Outgoing Man can be said to be truly Kafkaesque it is because it cannot be bullied into any single interpretation. Metamorphosis alone has reputedly produced some 130 different readings. Neath's debut is unlikely to yield so many, but it will surely tantalise and delight those who try to unravel its numerous narrative threads' - Scotland on Sunday

'A refreshingly different, lively story' - The Herald

'His brilliant novel reminded me most of the Prix Goncourt-winning Jean Echenoz. Neath has that same eye for detail, coupled with the ability to analyse the here and now in a parallel fictional reality' - The Bookseller

'It's like being stuck in a lift with a deadpan comedian, waiting for a punchline that never comes. You have to keep going, or you risk losing any grip' - The Independent


‘Resembles one of Godard's 1960's movies, full of jump-cut montages between close-ups of blankeyed lovers and excursions into heavily captioned symbolism. And, as well as comedy, it's a complex study of compatibility and communication’ - Glasgow Herald Full review here

‘But there’s another kind of purity in the way it kicks the foreshadowing of text into the foreground, subjecting the present to its predetermination - a live experiment in pinning down each possibility at each turn, actors huddled together like rats in a narrative maze where somewhere above/below/within the test results are being calmly fabricated.  And the text is just like this fucking elephant that’s loosely wandered into the room, no one’s ever spoken about it and now it’s too late, and it pushes all the air out of the room so that the need to be doing something beyond text becomes absolutely crucial, and in that surfeit everything begins to crack with this thousand tonne freedom’ - Daniel B Yates, Exeunt Full review here

They crash against one another, blundering through a script which would seem opaque on paper but becomes extraordinarily fecund, open ended and contradictory. Waves colliding with the cliffs. I saw three ROMCOM’s, each entirely unique, the stars aligning at different points, moments getting totally lost and the resonance in certain pockets being born of total chance - pomegranate pip instants of delightful improvisation and the potential of language to mean different things in different mouths . Glen Neath sat with his head in his hands on the edge of his seat with no idea what would unfold from what he had pre-ordained. It is an easy and satisfying to associate ROMCOM’s removal of agency with the power of love – alongside rage, the emotion in which we are the most blind and powerless. More troubling and touching is the schism that arises between the inexorable and the unpredictable. When I watched ROMCOM(s) I laughed but in hindsight it makes me sad. The implied meaninglessness rendered from a loss of control, as though all life was spent fumbling in a dark room, injuring one another without realising, missing the mark, growing apart without being able to explain why or when you’ve stopped loving someone. Everything hinges around infinite, miniscule variables. ROMCOM whispers with regret for miscommunication and failed expression. Our language is clumsy. We are blunt. Forlorn is a sadder word than distraught.’- Rosemary Wagg (blog) Full review here




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