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*****In the news*****

Powder Her Face at the Lyric, Belfast

"and the best, I think, not least because the director, Antony McDonald, brought such a light touch to the gathering bleakness of the nymphomaniac Dutchess's downfall"

(The Times *****)

 

"Breathtakingly good in every respect"

"Antony McDonald directs and designs a handsome staging that is equally assured, handling the notoriously graphic sex scenes with bravado and striking just the right balance between dirty farce, cool artifice and human tragedy thoughout."

(The Telegraph *****)

 

AMADEUS at the National Theatre

Reviews for Chloe Lamford's design, labelled "ingenious" by Ann Treneman (The Times ****) and compared to the "explosive  scene-setting" of Emma Rice by Johnny Fox (Londonist ****)

"Mile-wide panniers and spangly trainers - pop with colour and a gleefully anachronistic quality to some of the dance scenes"

(The Stage *****)

 

OIL Review

the Guardian

"You could steer your way through Oil by Lucy Carter's lighting alone." Ella Hickson's new play starts in 1899 in Cornwall with one of the darkest ever of scenes: a family crouched around candles in hostility.  It becomes a beautiful recreation of a Georges de la Tour painting when a lamp replaces the candles.  It moves into stately globes of light for a banquet scene in Persia.  It turns harsh and unforgiving in the 1970s.  And ends - in the future - in a world of diminishing illumination: a lunar light."

 

Oliver Mears to be Royal Opera House's director of opera

Oliver Mears, the artistic director of Northern Ireland Opera for the past six years, is to be the new director of opera at Covent Garden.  The ROH announced that 37 year old Mears will succees Kasper Holten.  Alex Beard, the ROH's chief executive said it was "a very exciting appointment."

 

CATS AWARDS - Laura Hopkins winner for Best Design

"Designer Laura Hopkins along with lighting designer Nigel Edwards and video artist Simon Wainwright, between them made the seemingly impossible possible in an array of stylised creations that involved a virtual Glasgow and the weird world of Unthank along with a colossal realisation of Alasdair Gray himself as well as some amazing graphics of Gray's drawings"

http://www.criticsawards.theatrescotland.com/Winners%20by%20year/15-16.html

 

NATALIA OSIPOVA - Sadler's Wells

Great review for Fabiana Piccioli and Luis Carvalho

"the strong visual impact of the work is further testament to the outstanding set and lighting designs of Fabiana Piccioli"

"encouraged and enhanced by Luis F. Carvalho's excellent costumes; a highlight being Osipova's short, slit, mustard-yellow shift dress"

http://londondance.com/articles/reviews/natalia-osipova-cherkaoui-maliphant-pita/

 

No Body review - Sadler's Wells - Lucy Carter, Lighting Designer

the guardian: "radiant choreography of light and sound"

... "but it is when we enter the light store that Carter's genius flares, orchestrating what feels like an after-show party among the rows of lights" ... "swooshing into a radiantly joyous chorus".

The Telegraph: The most mixed piece is the three-part Hidden, by first-rate lighting expert, Lucy Carter.

The third section, "Light Store", is a treat. The room is at first in complete pitch-blackness and proceeds to come to life in the most delightful and symphonic way, Again, surprise is all."

 

Opera Today

George Souglides’ set for Will Tuckett’s new production of Rossini’s L’italiana in Algeri at Garsington would surely have delighted Liberace. - See more at: http://www.operatoday.com/content/2016/06/litaliana_in_al.php#sthash.NkYEZnXf.dpuf

Souglides’ design is an imaginative and impeccable surround for Tuckett’s staged tableaux.

 

CAVALLERIA RUSTICANA and PAGLIACCI for Hampstead Garden Opera

Have been nominated in the Best Opera Production at the Offies 2017 (off West End theatre awards)  Fingers crossed for Bruno Ravella!

 

LA BOHEME - National Opera House, Wexford

Designer: Joe Vanek

IRISH TIMES: "The production, with handsome designs by Joe Vanek, has been updated to 1930's Paris

IRISH INDEPENDANT: "there is much to enjoy in Joe Vanek's detailed design that uses limited space with ingenious imagination"

 

CATS (critics awards for theatre in Scotland)

Have nominated Mark Doubleday and set designer Michael Taylor for their work on

WAITING FOR GODOT last year at The Lyceum in Edinburgh.

 

Tony Award Nominations - The Crucible & A View from the Bridge

Congratulations to Jan Versweyveld on his 3 Tony Nominations

Lighting Design of a Play - The Crucible

Scenic Design of a Play - A View from the Bridge

Lighting Design of a Play - A View from the Bridge

 

LAZARUS - Outer Critics Circle Nomination

OCC Nominations were announced this week and we are pleased to report that Tal Yarden received a nomination for Outstanding Projection Design.  Winners will be announced on Monday 9th May with the Gala Awards Dinner taking place on Thursday 26th May.

 

The Barber of Seville, National Opera House, Wexford, Ireland

Director: Michael Barker-Caven; Designer: Jamie Vartan

Irish Times *****

It's a night to remember!

Characters are given space to sing and shine in impressive updating of a comic classic.

Bachtrack****

There was lots to admire in director Michael Barker-Caven’s 1970s take on this classic.

Tara Erraught's Rosina steals the show in hilarious Rossini Barber

I think last night’s performance proved her as a luminously brilliant star at her zenith.

 

The Crucible, Walter Kerr Theatre, Broadway

Video Designer, Tal Yarden; Scenic & Lighting Designer:  Jan Versweyveld

New York Times

"The Crucible, an endlessly revived historial drama from 1953 suddenly feels like the freshest, scariest play in town"

The New York Daily Times

"The final 15 minutes of this play, set amid the salem witch trials, are built to be shattering and heart-wrenching"

Variety

"The ensemble ... is superb, and the play sustains its power to shock and thrill."

 

Rusalka, Anthony Donald - Directing; Lucy Burge - Choreography; Gabrielle Dalton - Associate Costume Designer

Observer ****

Scottish Opera's first production of Rusalka is a gripping triumph.

McDonald's own concise designs - bright woodcut-inspired simplicity complete with boho goth dryads, fish kitchen and buckets of blood - match terror and beauty,

Telegraph ****

"There are tremendous performances across the piece"

Herald Scotland ****

"This captivating production of Rusalka, the company's first, makes a persuasive agrument for the inclusion of the work in it's repertoire"

Seen & Heard International

"Anthony McDonalds production of Rusalka first saw the light of day at Grange Park in 2008.  It looks great on the stage of Glasgow's Theatre Royal, its frame-shaped inner proscenium and monochrome designs offsetting the luminous colours that accompany the magical characters.  His expressionistic evocation of the lake is a stroke of genius"

Times ****

"McDonald’s designs and Wolfgang Göbbel’s lighting still rivet the eyes and mind, especially Rusalka’s lake, a dark wavy oval starkly surrounded by crisp floorboards and disturbingly angled, leaf-free trees. Picnic there at your peril."

 

People, Places and Things, Christina Cunningham : Costume Designer

Telegraph****

"a character you can't tear your eyes from"

"Gough's performance is one of such power, intensity and verve that you feel it's the perfect meeting of performer and material"

The Standard*****

"It's rare to see a group of critics, cynical devils that we are, rise to their feet for a sweeping standing ovation on a press night"

"It's a supremely confident and well-oiled production" ... Wyndhams's the place and this play the thing to see this spring"

London Theatre*****

"there's a gorgeous ensemble around Gough that also bring a piercing honesty to the play"

"It is unmissable theatre - the play of the year"

 

Husbands And Sons, Royal Exchange Theatre, Lucy Carter: Lighting Designer

Manchester Evening News

"Intense" and "Powerful", "one of the most compelling plays I have seen in a long time."

 

International Opera Awards

We are delighted to announce that Annemarie Woods has been shortlisted in the Design category for 2016 and we all wish her the very best of luck.

 

Tipping Point, Ashley Page

Chicago Tribune:

Tipping Point mythologizes the physical, creating a cool, metaphysical universe ruling the actions of the heavens, the earth and human beings alike ... this is dance that will definitely reward future viewing.

 

Artintercepts:

Page's intricate choreography plays to the unique strengths of this particular group of dancers ... Thomas Ades' violin concerto Concentric Paths, was Asley Page's playground in Tipping Point.

 

 

Waiting for Godot, Sheffield Theatre, Mark Doubleday: Lighting Designer

WhatsOnStage

"Pretty near perfection"

 

The Telegraph

"Wonderful" and "Tremendous"

 

 

A View from the Bridge, Jan Versweyveld, Scenic Design & Lighting Design

The Guardian

"an exhilarating production, assured and perilous, abstract and concretely physical"

 

Variety

"A magnificent production"

 

Associated Press

"A stunning, imaginative theatrical experience"

 

The New York Post

"This new A View from the Bridge is totally mind-blowing"

 

The Washington Post

"Simply staggering"

 

JEUX, New York City Ballet, Kim Brandstrup, Choreography

New York Times

"And what a gem - a dark riddle of a gem"

 

The Huffington Post

"Every moment is articulate and stunning"

 

TRANSFIGURED NIGHT, Rambert Dance Company, Kim Brandstrup, Choreography

The Times

"A fascinating new work"

 

The Guardian

"One of Brandstrup's finest works"

 

The Stage

"Kim Brandstrup is a gift to Rambert ... clear eyed and choreographically assured"

 

Daily Telegraph

"Bold, flawlessly executed"

 

 

 

 

 

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