Review by John Fenton, – jazz blog. April 2016

“Rosie Langabeer can play outside one minute and the next you hear a deep subtle swing, a rare kind of pulse that you can feel in your bones. A gifted composer and leader in her own right, an extraordinary side-women when required. Moving from percussive, richly dissonant voicings to heart-stopping arpeggiated runs…Her iconoclastic playing delighted the audience.”


TWELFTH-superJumboNew York Times Review: Twelfth Night or What You Will by Pig Iron Theatre Company. By

“…the whole production is pretty dazzling. The musicians — trombone, violin, accordion, tuba and more are in the instrument mix — play the audience into the theater and set a festive tone that somehow also bends time. The performance pushes three hours but seems half that long as the gung-ho actors and resourceful band serve up a string of surprises. Compared with the Mark Rylance Broadway production of the same play that just closed over the weekend, think of this as the poor man’s “Twelfth Night,” not just in ticket price but also in look and attitude. Pig Iron goes for slapdash — expertly planned and executed slapdash — and hits the mark.”

Nothing But Madman (Toby’s Tango) – from Twelfth Night by Pig Iron Theatre Company.

The Food Of Love – from Twelfth Night by Pig Iron Theatre Company.

Twelfth Night, Pig Iron Theatre Company
New York Theater Review, 2014

“the show is buoyed along by a manic undercurrent even in its sharpest, most exquisitely clear-eyed moments, of which there are many. Like composer Rosie Langabeer’s music, its highs spin wildly and its lows are mournful and bottomless.”


New York Times Article: The Choreographer Matthew Neenan of BalletX Nears the Stratosphere. 

“Ms. Langabeer’s contribution is crucial to the work’s evocation of period, place and dream. She and three other musicians play onstage, sometimes on eccentric electronic instruments invented by Neil Feather. It all supports Mr. Neenan’s choreographic fantasy: dancers as plane parts and passengers, crewmen and islanders, birds and letter writers, the missing and those who miss them.”

Karangahape Cowboy – from Sunset, o639 Hours


 New York Times Review: ‘Sunset, o639 Hours’ by BalletX at the Joyce Theater. 

“Mr. Neenan and Ms. Langabeer shrewdly integrate the 10 dancers with a band of four multi-instrumentalists. The music ranges from ’30s swing for a New Year’s Eve scene in Auckland (“This one goes out to the Captain,” Ms. Langabeer croons) to a woozy soundscape during an Act II layover in Pago Pago. Letters, read aloud, thread through the score, a reminder of the Captain’s cargo. The stage bristles with the energy of a busy transit hub, and Maiko Matsushima’s décor — four warped, suspended panels ascending on a diagonal — suggest both a steady takeoff and scattered debris.”

I Was A Diamond – from Sunset, o639 Hours