“Technically, Henry VI is astonishing, not least in the discomforting harmony between Tic Ashfield’s Lynchian score and Elanor Higgins’ nightmarish lighting.” – The Stage on Omidaze’s Production of ‘Henry VI’.

“This chilling set is mirrored perfectly by a soundscape designed by Tic Ashfield; always there – uncomfortable and menacing – without interfering with or overpowering the text.” – The Public Reviews on Omidaze’s Production of ‘Richard III’.

 
“The use of music also created a great setting for the documentary. The vocals of the singers made it easy to visualise the scene of 19th Century women marching down busy streets fighting for what they believe in.” – Newport City Radio on Winding Snake Production’s ‘A Bird In A Cage’.
“The fifty-five minute score created by Tic Ashfield and Benjamin Talbott has a dense power of suggestion within it. There are the obvious sounds of scraping cello, choral voices, brooding bass and sonorous keyboard. But there are also intimations of the sounds and natural forces of Caradoc Evans’ Cardiganshire. The soundscape embodies wind and wave, the clatter of hooves and the bite of shovel on earth.” – Adam Somerset, Theatre Wales on Gwyn Emberton Dance’s contemporary dance work My People’.
“A haunting soundtrack” – The Guardian.  Praise forHinterland / Y Gwyll’.
“Streets ahead in terms of subtlety and sustained moodiness” The Times. Praise for ‘Hinterland / Y Gwyll’.
For this stage version, the company creates a lush sensual experience, Råman’s choreography combining with a soundtrack composed by John Hardy (Head of Contemporary Music at the Royal Welsh College of Music & Drama), designed by one of his talented students – Victoria Ashfield – and sung by Ebbw Vale Male Choir.” – Arts Council Wales on Adain Avion and Ballet Cymru’s ‘Cold Rolling’.