Role: Choreographic & Rehearsal Director
"The show is steeped in impressive physical sequences, such as when Georgina Beaty walks across fragile blocks held only by other cast members and when the waltzing couples eerily transition into bodies collapsing onto one another. ... Counting Sheep does a first-rate job of plunging its viewers into the war-torn world it depicts. It makes painful, gut-wrenching and frightening viewing, but prevails as a window onto the human stories beneath the strife of a nation, largely uncaptured by media coverage."
- Culture Whisper, Holly O'Mahony, 2019 -
"Propulsive and kinetic."
- The Stage, 2019 -
"Traditional Ukrainian songs and dances become screams and guerrilla training in a heartbeat with directional magic... the unwavering and tireless company succeeds in sharing a heartwarming sense of belonging. A timely production that tugs the heartstrings of a London who's facing an identity crisis, Counting Sheep tells the horrors of a nation that was denied the right to choose while celebrating life and love."
- Broadway World, Cindy Marcolina, 2019 -
'Counting Sheep: Staging A Revolution', VAULT Festival, London, 2019
'Trustees', a Malthouse Theatre and Melbourne International Festival production
Role: Movement Director
"...stylised choreography captures the slow-burn horror of market-driven competitiveness in the arts. The tussle for power is expressed as a violent libidinised tango, intimating that power is not only synonymous with brute physical force but laced with sado-masochistic impulse."
- The Conversation, Sandra D'urso, 2018 -
"The unheralded climax of the work is a series of intensely personal monologues by the five performers ...that demonstrate the worth and indispensability of the body-in-space to theatre, and how little is needed to break hearts and blow minds"
- The Australian, Chris Boyd, 2018 -
'Inner Terra', Bridget Fiske & Joseph Lau
Role: Choreographer, Performer & Producer
"Inner Terra’..is a duet on heavily-researched themes of migration, crisis and outsiderness....Intelligent, emotional and with some powerfully strong and distinctive choreography...the connection between Fiske and Lau is compelling, and Fiske especially moves so wonderfully that the pair are engrossing to watch."
- Peter Jacobs, The Public Reviews, 2016 -
"Balancing SUPERCELL’s stylistic breadth was its tight focus on the themes of globalisation and identity, which flowed through the entire programme. Particular mentions to Bridget Fiske’s ‘Inner Terra’ and Hepi and Wasasala’s ‘Passing’ for their powerful exploration of cultural assimilation and its impact on identity. Both duets used physical exchanges, and the friction between the two bodies, to demonstrate how cultural assimilation works on and through our bodies, and the emotional marks it leaves."
- Alana Tierney, Scenestre, 2017 -
Belarus Free Theatre
Role: Choreographic, Movement and Rehearsal Director
"..was a slow burn of articulate fury and extraordinary ensemble physicality...."
- Vulture, Sarah Holdren, The 10 Best Theatrical Productions of 2017 -
"Subversion that matters, delivered with artfully channeled rage..."
- New York Times, Ben Brantley & Jesse Green, The Best, Theater of 2017 -
"The severity of the show's content... is counterpointed, by the grace, athleticism and skill of its eight performers..."
- The Guardian, Michael Billington, 2013 -
“...mesmerising physical theatre piece...” “...strong ensemble cast...”
- The Public Reviews, Catherine Jones, 2013 -
“The choreography is stunning and well executed.”
- TW Edinburgh, Samuel Graydon, 2013 -
“...bruisingly physical ensemble choreography...”
- The New York Times, Ben Brantley, 2015 -
“...ensemble fearlessly dives into the production, to chilling result...”
- Theater Mania, Zachary Stewart, 2015 -