For Monk Spent Youth:
“Intriguing… rather other worldly” – Verity Sharp, Late Junction (BBC Radio 3)
“Fresh and never over-respectful… a hip tribute to the original hipster” – The Wire
“Each arrangement brings a freshness to the pieces… both joyous and meditative… While I am reviewing this after I had compiled my ‘best of’ list for 2019, I wouldn’t hesitate to include this one and heartily recommend it” – Jazz Views
“Monk Spent Youth is a complete pleasure” – The Jazz Mann
For Euphorials Vols 1 & 2:
“Brief punchy jams [and] longer, lyrical excursions that showcase Gvi’s excellent composing skills… a sly twist of funk is never far away: hence the delightful freshness of the whole thing.” – The Wire
“It’s sexy music for sure, with an understated sophistication combining both smoothness and sonic detail, appealing as both soulful electronica and nu-jazz.” – London Jazz News
For The Merchant of Venice:
★★★★ “Tying the production together, Zac Gvi’s score is muscular and atmospheric… evoking an unequal world that is for some filled with conspicuous glamour and for others tinged with constant menace.” – The Stage
★★★★ “The band led by Zac Gvi support beautifully throughout” – Evening Standard
★★★★ “The impact is full-bodied” – The Guardian
★★★★ “…beautifully haunting and heart-wrenching” – Broadway World
★★★★★ “Vibrant and fresh” – Whats On Stage
For The Winston Machine:
★★★★ “Probing and playful work from Kandinsky Theatre, shot through with music and mischief… music rises up through the cracks between the past and present” – The Guardian
★★★★★ “The cherry on top is Zac Gvirtzman’s impressive score that keeps the play tight and running with such excellent pace. It is as remarkable and inventive as the action and provides an excellent world in which our performers can play” – Everything Theatre
★★★★ “Composer Zac Gvirtzman and sound designer Kieran Lucas team up to deliver a mesmerising soundtrack” – Whats On Stage
★★★★★ “Wildly inventive theatre company Kandinsky return with a head-spinningly smart show… No-one else makes theatre quite like this.” Time Out
For Dinomania:
★★★★★ “The whole thing runs like clockwork to Zac Gvirtzman’s evolving piano score… no one else makes theatre quite like this” – Time Out
★★★★ “Fast, furious, cleverly inventive, comedically dramatic. And that’s just the live score on the piano” Elite Travel Blog
“Chopped and chewed vignettes accompanied by piano (beautifully composed and played by Zac Gvirtzman) make up the backbone of this well-constructed biography” – Exeunt Magazine
For Trap Street:
★★★★ “Melding an astonishing complexity of themes, a mastery of form and a deep, deep humanity … another triumph for Kandinsky” – Time Out
“Devised scenes play out collaboratively… underscored by brilliant and unsettling music performed by Zac Gvirtzman” – Exeunt Magazine
“A soundscape of effects, vinyl records and live music from Zac Gvirtzman shadows the narrative, dissonant sounds and scratchy music intensifying discord in the action, gentle [bass clarinet] providing warmth” – British Theatre Guide
For Still Ill:
★★★★ “intricately-layered, exquisitely detailed… squelching, shuddering soundscapes” – Time Out
★★★★★ “Breathtaking stuff… an enormously affecting bit of theatre” – London City Nights
“a remarkable score, played live… Gvirtzman uses percussion, keyboard, an interesting electronic box of tricks and his own voice to accompany, lead and disrupt the action in equal measure – a virtuoso performance in its own right.” – Theatre Breaks
“Unsettlingly underscored with music by Zac Gvirtzman, hospital noises and metallic sounds amplify moments of deep discomfort” – Exeunt Magazine
For Dog Show:
★★★★ “Intricate, compelling, hilarious, moving and multifaceted” – Reviews Hub
★★★★ “a delightful performance that stands out for the originality of its concept and execution” – The Upcoming
“Zac Gvirtzman creates beautiful atmosphere and tension with reeds and ukulele. The song for Mr. Buttons, to the tune of the shake and vac advert, has amazing harmonies that wash over and through you.” – The Flaneur
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