"[Jeff] Myers’s impressive score draws from diverse contemporary styles. There are stretches of hazy, wayward chords spiked with unnerving clusters. During tense episodes, skittish orchestral lines flail wildly. Mr. Myers elicits a wide range of sounds and colors from a [26]-piece orchestra conducted by Tyson Deaton. Sometimes fraught exchanges between singers are prodded along by stubbornly repetitive instrumental riffs. Other times, thick chords cling insistently to every syllable of the sung words.[...] Mr. Soluri’s skillfully scored music was energetically conducted by Mr. Deaton." 

 

                   The New York Times, Anthony Tommasini

 

 

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"Cipullo’s score is complex in the extreme. The vocal writing is angular and he changes time signature and pace nearly every measure. Rhythmic patterns are irregular, but notated, making conductor Tyson Deaton’s job positively Herculean. Even worse, he is in the back of the stage, the singers are unable to see him except in tiny monitors up in the corners, and his small chamber orchestra is extruded across the back, just two abreast.

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Calm, cool and confident, keeping his constantly changing but precise beat pattern within a reserved two-foot frame, the unflappable Deaton delivers a passionate and virtuoso performance by force of will."

 

                    TheaterJones-- Gregory Sullivan Isaacs

 

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"Conductor Tyson Deaton does an impressive job of coordinating an awkwardly strung-out ensemble with singers he can see only from behind."

 

                Dallas Morning News-- Scott Cantrell

 

 

 

 

 

"As a drama, Glory Denied scores on many points. [...] The music, both vocal and instrumental (a small orchestra is directed by Tyson Deaton), is another tension-generator. There is not much lyricism here, but the atmosphere is compelling."

 

                    Star-Telegram-- Olin Chism

 

 

 

 

 

"[Along with] the considerable musical and dramatic challenges [...] Conductor Tyson Deaton skillfully guided the quartet and the small chamber orchestra through this unfailingly energetic, often lyrical score."

 

                    FrontRow, Dallas Magazine-- Wayne Lee Gay

 

 

 

"Conductor Tyson Deaton gets appropriately atonal sounds from his chamber ensemble, particularly when blending flute and strings."

 

                    Garden State Journal-- Doug Strassler

 

 

 

"Paterson’s score [...] flowed beautifully under the watchful baton of ensemble conductor Tyson Deaton, who led the group through both productions with keen precision."

                    I Care if You Listen Magazine, Christian Kriegeskotte
 

 

 

"O’Regan’s clear, mostly atonal setting of the text was shaded by variety of textures from the American Modern Ensemble, helping to delineate the different moods and facets of Rabinowitz’s Mary. Particularly effective were the final moments of the work, when the dissonances resolved into a sonorous and beautiful harmony."

 

                    musicvstheater.com  Brian Rosen

 

 

 

 

"And with the American Modern Ensemble [...] under the baton of Tyson Deaton, a special energy reverberated between singers and musicians."

 

                    Seen and Heard International, Daniele Sahr

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