Dream Masons(10 Days on The Island, SAC) |
..A masterfully evocative soundtrack Richard Bladel, The Mercury ... Projections and shadow play reveal scenes and sub-plots further accentuated by the deftly changing music score as each window lights up..Mood is largely dictated by the music and lighting, and most of the characters are defined by their musical accompaniment. The excellent small cabaret-style band, comprising tuba, drums, keyboard, bells and accordion, generate the ominous quality of a scene with a whale that would make Hollywood directors jealous. And many members of the audience cannot help but bop to the more upbeat music. Lucy Hawthorn, Realtime Arts Magazine March 2007 |
Three Furies(2005 Sydney Festival, 2006 Perth, Adelaide, Auckland Festivals) |
"Music the star in grim portrait of a painter" The highlight of the production is the music, composed by Basil Hogios and performed by three musicians and, as chanteuse, Paula Arundell, who has a splendid, sultry voice and remarkable control. The haunting, intoxicating music draws us in and promises to raise the temperature of the drama. Stuart Young, The New Zealand Herald, March 2005 Three Furies unleashes the demons as though Bacon's own rough, expressive, butchered, distorted figures and forms have sprung on to the stage, not in any literal sense, but in the repellent force and beauty of the language, and the beat, growl and ironic tenderness of Basil Hogios' compositions. Bryce Hallett, The Age, January 24, 2005 "Brutal beauty of the everyday" Like Bacon, Sewell, Sharman and Hogios turn the ugliness of the bare facts into a beautiful piece with their words, images and music. John McCallum, The Australian, January 21, 2005 "Simon Burke at the Canberra Pops Concert" Later in the program Burke introduced a glowingly beautiful song "So in the Night" written by Australian composer Basil Hogios, for the production "Three Furies" in which Burke appeared during the 2006 Adelaide Festival Bill Stephens, The Canberra Review, October 13 2006 |
Upon The Kings Urging(directed by Maia Horniak) |
Definitely one of the best directed Short & Sweet shows I have seen..A real highlight is Basil Hogios' performance as the Musician who plays a hand-held wind piano to enhance the effect and to add humour to many moments. A solid piece, original and performed with earnestness by all cast members. |
The Tempest(Bell Shakespeare 2006) |
Saskia Smith's ethereal Ariel is beautiful and wise. When Prospero's magic is at work, she sings in a pure angelic voice to beautifully haunting backing composed by Basil Hogios, while Mark Truebridge's subtle light tricks blur and shimmer. Daily Telegraph, 18 September 2006 'The isle is full of noises', Caliban reassures his panicky co-conspirators, 'sounds and sweet airs, that give delight and hurt not'….Basil Hogios' haunting song settings and under-scorings embrace Shakespeare's words and enhance the action, especially, in the jazzy mezzo-soprano phrasings of Saskia Smith's Ariel. Veronica Hannon |
Unspoken(Old Fitzroy Theatre) |
Wayne Blair's sensitive direction uses the small space to its best advantage and light (Stephen Hawker) and music (Basil Hogios) work in harmony with one of the best acting performances seen at this theatre. Jason Blake, Fairfax Digital, April 2005 "Every element works. Wayne Blair's spatially effective and unobtrusive direction, Stephen hawker's lighting and Basil Hogios's sound provide an excellent platform for Clarke's Stunning work" Stephen Dunne, SMH April 2005 Basil Hogios' sound is often subtle, and always effective. The sound weaves in and out of the performance, utilising breath, hospital bleeps and phone conversations in conjunction with music. Tessa Needham, Sydney Stage, August 2006 |
Dark Heart |
The most satisfying images in fact are created by Penny Challen (Designer) and Basil Hogios (Composer and Sound Designer). As non-particular as Miranda's father's business negotiations, the small space is well used to create a sense of isolation and empty open space. Hogios supports this and manages to take the word soundscape to a new level, by creating an illusion of metallic space. This is one of those rare productions where the sound stands completely alone yet actually seems to permeate through the fabric of the text. Reviewed by Magdalena Grubski, 2001 |
Elling |
The production features a rich and eclectic soundscape. Composer Basil Hogios' score gravitates from syrupy strings to minimalist electronic noises that hint at the characters' internal vortexes. The burlesque band excerpts (that wonderfully verges on spinning out of control) is reminiscent of the composer's work for B-sharp's 2002 production La Ronde. Joyce Chau, vibewire, March 2003 |
What The Umbrella Did Next |
The scene is very, very weird, and strangely touching, typical of a play whose madness and eccentricities - aided and abetted by a very impressive use of lighting and sound effects designed by Basil Hogios and Paul Watson respectively - are delivered with panache, wit and, importantly, heart. Vibewire, Richard Black - 22nd July 2003 |
What the Butler Saw |
..and the overall carnival of masquerade and mistaken identity is neatly accentuated with Basil Hogios' musical flourishes. Bryce Hallet Feb 27 2004, SMH |
