"The play’s gothic elements are kept under check, for the better: there is occasional shadow-play in Catja Hamilton’s lighting design and distant notes of violin or heartbeats in Joe Dines’ sound design, which never veers into melodrama."
The Guardian (The Maids, Jermyn St)
 
"Underscoring sound by Joe Dines builds tension through subtle rhythmic beats"
West End Best Friend (The Maids, Jermyn St)
 
"Joe Dines’ sound design, though subtle in its approach, is ever-present, giving an ominous and foreboding feel as it provides a continuous and tense soundtrack."
All that Dazzles (The Maids, Jermyn St)
 
"Joe Dines provides a fabulously eerie soundscape, underscoring events with hushed, throbbing strings that rise to shivering intensity before fading into the background."
The Stage (The Maids, Jermyn St)
 
"Joe Dines’ sound design and Catja Hamilton’s lighting work contribute enormously to the undulating eeriness of proceedings, unnerving in their various swells as the level of menace grows."
Ought to be Clowns (The Maids, Jermyn St)
 
"Joe Dines’s sound design accents disjointed moments of dramatic intensity."
Broadway World (The Maids, Jermyn St)

"Stagecraft is sublime with lighting by Catja Hamilton illuminating some fabulous  jump scares and subtle score by Joe Dines creating an ominous atmosphere."
A YoungIsh Perspective (The Maids, Jermyn St)

"Joe Dines’ sound is liminal. Max Richter’s Vivaldi’s Four Seasons teases the ear. Street-noise morphs so you wonder if someone’s left a commentary on their mobile. the only thing to pierce this pressure-cooker world is a buzzer or telephone."
Fringe Review (The Maids, Jermyn St)

“Joe Dines conveys tension and claustrophobia extremely well; heightened moments give the feeling of blood rushing through your ears.”
London Unnattached (The Maids (Jermyn St Theatre)

"The sound, designed by Joe Dines, adds to these moments and his compositions are wonderfully atmospheric."
Broadway World - on A Christmas Carol (Reading Rep Theatre)

"The sound design by Joe Dines underlines the melancholy character of this strange atmosphere, in which people ultimately do not find each other"
Alexander Walther - on Ivanov (Schauspeil, Stuttgart)

"a bare set and a tense audio overlay help build scenes out of pregnant silences into climactic releases"       
Spy in the stalls- on Beast on the moon (Finborough theatre)