"Stories of love and lust are presented by six spirited actors, in combinations that defy conventions of society and of the theatre. Roles are taken on by different performers, who swap their parts throughout the production, resisting our desire to lock people into types and categories, intentionally elusive to achieve a broader sense of universality in how it addresses the audience. Heteronormativity too is dismantled, not only in terms of the gay-straight binary, but also in its challenge of monogamy’s dominion, by allowing the ensemble to interact in combinations that exceed the ordinary romantic pair. Director Liz Arday demonstrates intellectual verve, whilst keeping us sensorily engaged with her fast, inventive show. The cast is excellent in collaborative scenes, delightful with their execution of some very fascinating choreography."
Suzy Wrong (Suzy Goes See/Limelight) on Everyone I've Ever Loved or Slept With or Both by M. Saint Clair, Sydney 2018
"Arday's impeccable ability to distort our vision with this two-dimensional facade of visual installation, whilst jabbing us with the hard-hitting questions of sexuality, miscommunication and objectification gave Fleur Kilpatrick's words the shot they needed"
Laneikka Denne (Grunge Children) on Yours the Face by Fleur Kilpatrick, Sydney 2018
"Rather than trying to conjure the world in filthy furniture or rubble, Debris takes the form of a spoken word event in which Abdus-samad and Kershaw deliver their speeches via a microphone and treat the audience like the denizens of a comedy club... released from realism, Dennis Kelly's black-humoured two-hander sings in a challenging space"
Jason Blake (Audrey Journal) on Debris by Dennis Kelly, Sydney 2018
"Liz Arday's tight direction keeps the play moving, balancing precariously on this seeping aura of malice and dread which threatens to erupt at any time. As you get comfortable with the laughs, you are snapped back to reality that this really is about two adults trapped in a dollhouse”
Peel First on The Eisteddfod by Lally Katz, London 2017
”A man and a woman sleep in each other’s arms; the man’s foot, dirt visible on the sole, sticks out of the duvet. It’s a preset scene of gorgeous intimacy, and our visual assumption is absolute: here is the private world of a loving, intimate couple. The assumption is brilliantly undermined when the scene begins. They wake up, spring apart, ask who the hell each other is and whether or not they’ve had sex. But director Liz Arday’s compelling, articulate opening image has already convinced the audience we have seen a deeper truth: there is, or should be, real intimacy here. The defensive wit, atmosphere and excellent sense of place propel this play far beyond the usual will-they-won’t-they"
Rachel Knightly (RemoteGoat) on Ride by Jane Bodie, London 2015