“Chris Lawson and Natasha Harrison’s sensitive direction ensures that we invest in the characters and their situation. ★★★★”
— - Natalie Douglas for Four Minutes Twelve Seconds - The Stage
“There’s great work from movement director Natasha Harrison, who keeps the small cast moving in one direction and the writer in another. The production slowly warps and darkens as the hunger takes hold. Characters kiss, eat and satiate themselves in slow motion as the writer looks on, out of time and out of luck. ★★★★”
— - Miriam Gillinson for HUNGER - The Guardian
“ Chris Lawson and Natasha Harrison’s slick production concentrates the play’s wrestling tensions into an increasingly gripping debate over responsibility and punishment. ★★★★”
— - Matt Barton for Four Minutes Twelve Seconds - A Younger Theatre
“Direction is by Natasha Harrison and Chris Lawson, and they’ve made all the right choices. ★★★★★”
— - Chris Wallis for Four Minutes Twelve Seconds - Northern Soul
“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.”
— Jo Caird for RSC's JULIUS CAESAR - THE STAGE
“Coordinated moments of light, sound and movement (Natasha Harrison, Movement Direction) punctuate the changes of scene, mesmerising the audience”
— Joanna Hetherington for TINY DYNAMITE - aspyinthestalls.com
“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”