Reviews/Audience feedback

Have you been to one of our shows?  We'd love to hear from you!

Please feel free to leave a comment below.

Alternatively, you can get in touch by emailing: avidforovid (AT)



After the 30th October 2015 show at the Ashmolean Museum, Oxford, as part of DEADfriday

"Artistic, scholarly, and professional
we saw expressions of human and beyond-human emotions
Avid for Ovid evoked both pity and terror in its audience: the ultimate Halloween experience"

After the 17th & 18th July 2015 shows at the Burton Taylor studio, Oxford, as part of GOlive Oxford, curated by Donald Hutera
  • Barbara Berrington on Susie Crow's Shades of Tisiphone and on Ségolène Tarte's Lycaon (17th July):
"(...) [Susie] Crow’s presence on the stage exuded power through balletic control. It inhabited and enclosed the whole space within which she operated, compelling an atmosphere of dread that grew and throve within the room. (...) This was a tremendously complex and riven performance, fraught with uncertainties and ambiguity.
In its clarity, Segolene Tarte’s Lycaon was unquestionably the most compelling performance of the evening. So terrifying was its narrative and visual power that a child of about eight or nine sought refuge from the auditorium.
  • Nicholas Minns on Susie Crow's Shades of Tisiphone, on Marie-Louise Crawley's Myrrha, and on Malcolm Atkins' music for both pieces (18th July):
"(...) When she [Marie-Louise Crawley] wears a neutral mask (...) her body express[es] what the face cannot but her head with its smooth, china-white exterior is also expressive because it is precisely tuned with the rest of the body.(...) It is fascinating to see how the very lack of innate expression in the mask — its animal-like emotionless state — contrasts with the body’s emotional turmoil. Through Crawley’s articulate arms and expressive plastic shapes we can feel her inner workings of fear and despair in the telling of her incestuous story.
Tisiphone is a fury in classical legend and although Crow herself hardly fits the description, her movement conjures up Tisiphone’s fiery character in the forceful sweep of her choreography.
Malcolm Atkins’ lovely score for both pieces colours the dramatic elements in a way that informs the movement without dictating to it.


Snippets of feedback we've received:

After the 28th November 2014 showing at the Al-Jaber Auditorium, Corpus Christi College, Oxford - personal communications (with our many thanks to their authors):

"Beautiful work. Waiting for more..."

"As always a delight to see Avid for Ovid in progress last Friday -- emotionally moving to watch and very stimulating with regard to the academic aspects !"

After the 28th August 2014 showing at the Al-Jaber Auditorium, Corpus Christi College, Oxford - selected from feedback sheets collected on the day for our joint research with ADMD:

"Thank you for an astounding evening. I enjoyed the academic side but above all the intense emotional conviction of the last two pieces all conveyed with the utmost simplicity of means - the music, a single dancer representing the various roles in Daedalus/Icarus and Aurora/Memnon - no lighting tricks - just brilliant dancing and music. A marvellously innovative Ovid experience!"

"Great performance, fantatstic music, and a  very effective way of drawing in the audience and having us think about the embodiment of emotion and narrative"

"[...] I thought that Susie's movement vocabulary reminded me of images on classical Italian vases. Ségolène seemed more like Hellenestic sculpture or white ground lekythoi. [...] I thought that getting members of the audience to pull slips out of the hat was brilliantly in keeping with Roman pantomime and the audience participation it introduced was exactly right."

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