Live performance is more than a workout for artists. The sound, look and feel of a building’s performance spaces, audience rooms and surrounding facilities can make or break any event. We’re pleased to pass on these comments from all corners about the impact that our work has had on the experiences of both performers and audiences.
The Orpheum, Vancouver
“An unqualified success. The results exceeded our expectations.”
Rae Ackerman, Director, Vancouver Civic Theatres
Princess of Wales Theatre, Toronto
“The room has a warm generous sound. It’s a miracle.”
Alain Boublil and Claude-Michel Schönberg, composers
“I am very proud of the acoustical quality of the Princess of Wales. We have received many favourable comments from actors, directors, musicians and composers.”
David Mirvish, Producer, Mirvish Productions
Four Seasons Centre for Performing Arts, Toronto
“… surely the quietest large building in the country.”
Robert Everett Green, The Globe and Mail
The Esplanade Arts and Heritage Centre, Medicine Hat, Alberta
“It’s damned good!”
Pinkas Zukerman, Music Director, National Arts Centre Orchestra
“Acoustically, it’s one of the best places to perform in Canada.”
Ben Hepner, Tenor
“Performers from across the country have raved about the acoustics and in fact we believe we have one of the best acoustic performance spaces in western Canada.”
Carol Beatty, Manager of Cultural Development, The Esplanade Arts and Heritage Centre
Evergreen Cultural Centre, Vancouver
“The more we play, the better it sounds.”
Jon Washburn, Conductor, Artistic and Executive Director, Vancouver Chamber Choir
Ruth Seaton James Auditorium, Bermuda
“Acoustically, and aesthetically, the Ruth Seaton James is a performing arts centre that Bermuda can be proud of.”
The Bermuda Festival
Young Centre for the Performing Arts, Toronto
“It’s got a very lively acoustic. Pianists and singers love this space.”
Albert Schultz, General Director of Soulpepper Theatre
Paul Davenport Theatre, London, Ontario
“The careful work that both John O’Keefe and John Nicholson carried out in tracking down and getting rid of structure carried noises and HVAC, and the new design of the shape and texture of the walls that both of them created, allows the performers to produce sounds with complete control and absolutely no distortion.”
James R. McKay, Chair, Department of Music Performance Studies, Music Director of the UWO Symphony and Opera Orchestras
“The transformation which has taken place in Talbot College’s Paul Davenport Theatre is nothing short of amazing. A 45 year-old acoustic nightmare has been changed into a beautiful and acoustically superior performing space. There has been unanimous and high praise for the hall. We are thrilled with this incredibly successful transformation.”
Robert W. Wood, Ph.D., Dean, Don Wright Faculty of Music, The University of Western Ontario