"Philip Feeney has become one of England's most important composers of music for dance. Since Thursday, Boston Ballet audiences have been able to find out why as they've heard his sumptuous, original score for The Hunchback of Notre Dame."
Boston Herald

"The finale, with its passionate drumming on shovels and buckets, starts as a parody of Stomp (the score by Philip Feeney is sensational throughout), but ends as a victory chant for carnage and stupidity. The war may be over, but in this modern epic there are no heroes." (Review of The Bull, Barbican 2006)
Debra Craine, the Times

"The composition (Philip Feeney) is brilliant throughout and here it swells into full-blown romance and I am totally sucked into this poignant conclusion." (NZ International Arts Festival - Giselle)
Reviewed by Lynne Pringle

"Keegan-Dolan has completely reworked an earlier production…. he is helped by Philip Feeney’s wonderfully apt score." (The Flowerbed)
John Percival – the Stage

“Philip Feeney's fine, tensely wrought score” (Hamlet Northern Ballet)
Luke Jennings, the Observer

"Feeney’s commissioned score (electronic and live combined) effectively blends period harmonies with unnerving sound effects." (Les Liaisons Dangereueses)
Debra Craine, Times online

"Bright orchestration, an orientation toward tunefulness, and an innate sense of drama made a success of this, the first full-length ballet score by a British composer who has become a highly prolific composer for the dance. This suite from the score, devised by John Longstaff, is a very entertaining and satisfying orchestral work." (about Feeney’s Cinderella Suite on Naxos)

"Philip Feeney's score (played by the London Musici) provides an effective dramatic backdrop …… adroitly combining 18th-century sonorities with post-modern deconstructions and 'found' sound." (Les Liaisons Dangereueses)
Nicole Meisner, the Independent

"Milwaukee Ballet’s new Peter Pan is visually and aurally ravishing. The bedrock of the work is Philip Feeney’s thrilling score, commissioned by the company for this world premiere and triumphantly performed by the Ballet Orchestra and the Milwaukee Children’s Choir under conductor Pasquale Laurino. In the music as in the dancing, ever more wonderful adventures tumble head over heels in a seamless flow."
John Schneider,

"The best thing is Philip Feeney's kaleidoscopic blast of an orchestral score – it never ceases to amaze me how hard composers have to work compared with their fellow collaborators. But, as the audience registered, the choreographer had pulled his weight too, and supplied ENB with another useful crowd-pleaser. No, better than that – a life-enhancer." (Manoeuvres, ENB)
J. Gilbert, the Independent

"Composer Philip Feeney's lovely score for the new section focuses on mood, for example the marimba represents the children's safe place in the forest. Introduced this way, the musical instruments serve as accompaniment to the dancers rather than as characters in their own right." (Prequel to Peter and the Wolf – New Victory Theatre, New York)
Rohana Elias-Reyes, November 15, 2009, review

"This switching about from her fantasies to the reality of life is well caught in Philip Feeney's most inventive score for NBT. Ancient blues songs, delivered by cracked old negro voices, are swept up into music, part taped, part live, that romps between striding jazz rhythms and portrayals of emotion." (A Streetcar Named Desire)
Ismene Brown, The Telegraph 26 Sep 2001

"The score for Dracula was composed by Philip Feeney. The music for this ballet is absolutely sensational. I would hope that some of the local orchestras would perform some of his ballet music or other works. He is a marvelous composer."
Robin McNeil, OpusColorado, News and reviews of music in the Rocky Mountains