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★★★★★
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. ★★★★
.. 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.★★★★★
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
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.
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.
Justin Audibert’s atmospheric production is fast-paced and entertaining throughout, including... a stunning masque, choreographed by Natasha Harrison.
Great use of movement throughout ★ ★ ★ ★
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)
Really great movement direction by Natasha Harrison