In the Press
Hampstead Garden Opera
★★★★ “Thrillingly sung and dramatically propulsive production is timely and satisfying”
“Pearson certainly knows about the power of simplicity”
★★★★ “Moving the action from ancient Rome to modern Silicon Valley is a clever idea of director Ashley Pearson and, with the help of set designer Sorcha Corcoran, she comes up with a concept that allows for a ‘Succession’ style drama where Nerone and Ottone are rivals for the job of CEO of the big tech company.”
★★★★ “Directed by the inspirational Ashley Pearson”
“A smart and sharp Agrippina from Hampstead Garden Opera”
“Director Ashley Pearson knows how to use body-language to create character.”
“This was proper pro opera, and a high-quality lark”
“The accent in a small theatre lies on Personenregie, and this was keenly, powerfully accomplished throughout.”
Hampstead Garden Opera
Nominated for an Off-West End award for Best Opera Production
★★★★ “a wonderful production full of gumption, which made the opera accessible, bright and fun… A perfect summer treat.”
“A seriously surreal take on Handel's Opera seria – don't expect to understand it, just sit back and wallow in the fun, lovely music, and amazing performances.”
“wonderfully kitsch HGO production (hats off to director Ashley Pearson)”
“Baroque opera buffs will love this production and Jackson's Lane gurgled with much knowing laughter.”
“spices seria conventions with gentle parody and self-parody.”
Opera on Location
★★★★★ “Ashley Pearson’s new libretto in English replaces the original by Edouard Guinand and brings it very much into contemporary society.”
★★★★★ “As with all Opera on Location productions, accessibility is a huge consideration. Ashley Pearson returns as librettist for this opera, with her interpretation of Debussy’s text set in English aptly bringing the audience closer to the production. She manages to strike the balance between story, text and music, creating a really special story.”
Opera on Location
★★★★★ “Animated and magical reimagining of this popular story was dynamic and gripping from start to end. The clever use of shadow puppetry and stop motion animation really added to the stellar performances by the cast.”
“A knock-out cast paired with clear Directorship and stunning visuals”
Opera on Location
REVIEWS HUB
★★★★ “Director Ashley Pearson has taken La Traviata to its core then crafted an entirely new libretto which is modern and, at times, hilarious without betraying the original story.”
“One of the most creative and imaginative young opera companies working today.”
CLASSICALEXBURNS
★★★★★ “From the modern English translations, to the casual clothes and the unique setting, the whole production opens its arms to anybody willing to give it a go.”
“Opera on Location catapulted this popular story line into today’s world, successfully connecting with all who enter into it.”
King’s Head Theatre
Carmen ★★★★
CHRIS OMAWENG
★★★★ “The show also has, if there is such a thing, the ‘right’ amount of profanity. Too much of it and one wonders if the librettists lack vocabulary. Here, its use is sparse enough to have a dramatic enough impact each time … considering none of the on-stage characters were particularly likeable, this production sizzles with the passion of this fiery love triangle.”
LAST MINUTE THEATRE TICKETS
★★★★ “The production itself is very impressive with all three actors really bringing their characters to life in fine style in the version I saw… the libretto has a surprising amount of comedy in it. The stage may be small but the sense of intimacy this provides really draws the audience into the relationships being played out in front of them… Anna Lewis’ set makes great use of some well-designed backdrops to convey a sense of place and this really effective in the final scene where the emotion of a football match is a constant in the background of the narrative unfolding in front of the audience”
Opera on Location
ALEX BURNS
“I was truly blown away by every part of this production and [it] is genuinely the best opera I have seen to date.”
REVIEWS HUB
“…offers a modern slant on the opera that brings out both elements of the dramma giocoso to great effect.”
“Pearson deliberately plays on the tennis-match tendency in the watchers, switching attention from one end of the stage to the other. Here both are playing shots at the same time, so the audience has to choose: you miss some action, but the sense of eavesdropping on events is exhilarating.”
CLASSICALEXBURNS
“From beginning to end I was hooked on this unique production, and the way some of the themes of the opera were handled were second to none.”
Riot Act
The League of Youth ★★★★★
BRITISH THEATRE GUIDE
★★★★★ “The brilliant craft and artistry of writer Ashley Pearson transform[s] this tale of local politics into a modern fable of the office age.”
“Above all, the stage action is so energised that it invests Ibsen’s ideas with the kind of kinesthetic power and excitement that they rarely attain in the polite 19th century bourgeois interiors he customarily gets.”
“Whether you’re a seasoned Ibsen-enthusiast or a complete novice to the works of the Norwegian, this is a show that anyone can enjoy. Go and buy a ticket.”
A YOUNGER THEATRE
“There are some really hilarious moments (involving, at one point, nuns and wimples) and the cast take full advantage. Pearson succeeds in finding many parallels with today’s fragile political climate, warning us, quite rightly, about the dangers of devious demagogues that make grandiose promises, preying upon the prejudices of ordinary, working people."
“…through adaptation and direction (by Whit Hertford), there is an odd thrill and captivating vigour that carries the evening.”
THEATRE AND PERFORMANCE GUIDE AND GURU
“The small town conservative political structure of Ibsen's original has aptly been adapted to a corporate firm environment by writer-dramaturge Ashley Pearson, inclusive of modern-day attributes; moving up the career ladder by jumping a few rungs, the manipulation of colleagues for personal gain, and the inevitable corruption through the lure of becoming top-dog, are dutifully presented by the direction and staging of this tricky play.”
Riot Act
Coverage ★★★★
FEMALE ARTS
★★★★ “Coverage as a play will pique the interest of the Shakespeare aficionado and those with only passing interest. I really do hope many get to see the play... it does have something for everyone and deserves wide exposure.”
STAGENSTYLE
“This style of theatre is by far my favourite. When you know that time and money has been focused on the actors themselves rather than the mis-en-scene.”
“Coverage is an all round brilliant play about the politics of everyday life.”
BRITISH THEATRE GUIDE
“There is an excitement and bustle about the newsroom operation. The conversation is bright and witty... The show also treats seriously the clash between characters whether that clash is about who holds power in the country or who gets what job in the workplace.”
“The show has so many entertaining elements it never for a moment lost my attention and was well worth seeing.”
Theater Mensch
Mary, Mary ★★★★
★★★★ "Mary, Mary is an ambitious play that fits A LOT into its hour duration."