Movement Director | Choreographer | Teacher


Some selected accolades.

The success of this production is primarily the result of the best close-harmony trio I have seen and heard in this work. Their choreography and moves are a triumph
— - Peter Reed for TROUBLE IN TAHITI - Classical Source
Just how much hard work has been done by movement director Natasha Harrison becomes evident in the sparky choruses, a perfect balance between stylisation and free motion in between.
— The Arts Desk for THE RAKES PROGRESS
.. Gloria and Rick circle round, always facing each other, like boxers in a ring. The movement choreography in the confined space by director Jez Bond and movement director Natasha Harrison is wonderful.
— Nick Wayne for BUILDING THE WALL - Pocket Sized Theatre
Natasha Harrison’s full-throttle fight scenes are a big hit, but the dialogue keeps the young audience engaged too.
Coordinated moments of light, sound and movement (Natasha Harrison, Movement Direction) punctuate the changes of scene, mesmerising the audience
— Joanna Hetherington for TINY DYNAMITE -
Designer Anna Reid has her work cut out conjuring both a drawing room and a wood in Southwark’s small theatre. But her simple, elegant ideas – like the canopy of lampshades whose bulbs descend to invoke an intimate grove – transport us perfectly well, especially when paired with Natasha Harrison’s clever movement direction, which transports the cast into their illusions.
— Lucinda Everett for DEAR BRUTUS - WHAT'S ON STAGE
The second act opened with a delightful piece of incidental waltzing by the people of Zanzibar – a luxury chorus of young artists. There was also a waltz in the Chabrier which sounded curiously similar to Poulenc’s. Praise should go to the movement director Natasha Harrison, whose choreography commended the production.
— Louise Flind for Les Mamelles des Tiresias - Bachtrack
Justin Audibert’s atmospheric production is fast-paced and entertaining throughout, including... a stunning masque, choreographed by Natasha Harrison.
— Carolin Kopplin for THE CARDINAL - UK Theatre Network
Great use of movement throughout ★ ★ ★ ★
— Karl O'Doherty for THE CARDINAL - The Reviews Hub
Audibert’s also recruited a strong creative team who provide some high-octane sword-fighting in close quarters (Bret Yount), a stirring choral and church organ soundtrack (Max Pappenheim), and a lovely wedding dance (Natasha Harrison)
— Dan Rubins for THE CARDINAL - A younger Theatre
Really great movement direction by Natasha Harrison
— Cloud Dance Festival for BLACKTHORN