Reviews for Faeries at The Clore Studio Upstairs, Royal Opera House. Choreographed by Will Tuckett
The Daily Telegraph 18/07/08 Mark Monahan….Every faerie - some tiny and cute, but most grizzled and two or three feet tall - is controlled by three very visible people manoevring it on stage, with one of them also providing the voice. It may sound distracting, but it isn't. The puppeteers and actors invest so much care in the movement of every last joint and flick of the head that these strange creatures (designed by Nick Barnes) seem to come alive…..Overall, Faeries is thoroughly bewitching in an Arthur Rackham-meets-Grimm way, full of warmth of spirit but also just spooky enough to whet young appetites without scaring the bejesus out of them. Highly recommendedThe Times 16/07/08 Debra Craine
…..this show is poised to charm, from the fireflies twinkling amid the knotted treetrunks of Michael Vale's atmospheric set, to Tuckett's free-spirited choreography and Martin Ward's tuneful, sweet music. Faeries is recommended for ages four and up, and if the delight I saw on many faces is anything to go by, they won't be disappointed.
The Stage 15/07/08 Liz Arratoon
….Faeries is a small-scale show and the children sitting virtually in its fantasy world are totally absorbed by it, but the enthralling execution and many humourous touches mean that the adults are swept along with it, too.
The Guardian 16/07/08 Judith Mackrell
….delightfully unexpected fairy puppets are manipulated not by strings, but by human actors and dancers whom Tuckett ingeniously choreographs so that they become part of the puppets' physical voice and presence. The Independent on Sunday 20/07/08 Jenny GilbertAnyone curious about the power of theatre will be enthralled by this unusual conjunction of fine writing (by Rebecca Lenkiewicz), puppetry (Blind Summit Theatre), movement, stagecraft and deliciously oblique imagination.The Sunday Express 20/07/08 Jeffrey TaylorThe versatile cast of performers play humans and monsters while also operating Blind Summit Theatre’s utterly believable puppets…. Tuckett gathers these varied ethereal strands of whimsy and produces a convincing, moving and completely absorbing 75 minutes.Reviews for Marjorie's World Unhinged, national tour. Choreographed by Maresa Von Stockert
Manchester Evening NewsMarjorie's World Unhinged @ The Lowry
Robert Beale
24/ 1/2007
MARESA von Stockert's surreal and yet so-truthful account of a slice of life (and death), with the world of ballet as its backdrop, brings laughter and tears to anyone who's had a dancer in the family...
...Laura Caldow (Eleanor) is hugely impressive as actor-dancer, too, and there is no weak link in the whole Tilted Productions team. It includes Steve Jackman's acutely visualised film, Jon Bausor's minimal but effective sets, Suzie Holmes' skilfully designed costumes, and Adrian Plaut's vivid lighting.
The Stage, Wednesday 27th September 2006.
Marjorie’s World Unhinged
by Mary Redman
The premiere of this innovative, entrancing dance theatre work by award winning choreographer Maresa von Stockert clearly shows the benign influence of From Here to Maturity in its pedigree.
....Created with a flexible company of multigenerational actor/dancers, Marjorie’s World confronts sensitively, wittily but directly the grotesque body and age fascism of both the dance and real worlds.
Every subtle detail is taken care of in this thoroughly entertaining, thought provoking work. It deserves nomination in the Oliviers and elsewhere.
www.localsecrets.com.
THEATRE: Marjorie's World Unhinged
by Rachel Fentem
One of the most successful scenes features Eleanor (Laura Caldow), the young dancer elbowing her out of leading roles. Plagued by fears of fat, height and age, Eleanor dances a yearning duet with a pocket mirror, whilst behind her a film is projected from the mirror’s viewpoint, a disorientating, strangely beautiful series of images......Von Stockert’s dancers use their bodies in extraordinary ways. The contortions of Laura Caldow seem to defy physical possibility, whilst the flexing, writhing bone and sinew of Caldow and Natalia Thorn’s backs during the ballet class scene revolt even as they mesmerise.
