Reviews
|
|
Testimonials
|
|
|
Acoustic Theatre Troupe
Lucy Boon, Artistic Director
Intimacy Director
'Shondelle's work as an intimacy coordinator, director and choreographer is truly extraordinary. She has a beautiful way of getting the very best out of actors, building scenes with complex energies and precision, and creating positive spaces within which ensembles grow and thrive. I've had the pleasure of collaborating with her on several Acoustic Theatre shows, and each time she has significantly elevated the work through her unique set of skills. I hope I'll be able to continue working with her for many years to come.'
September 2024
Lucy Boon, Artistic Director
Intimacy Director
'Shondelle's work as an intimacy coordinator, director and choreographer is truly extraordinary. She has a beautiful way of getting the very best out of actors, building scenes with complex energies and precision, and creating positive spaces within which ensembles grow and thrive. I've had the pleasure of collaborating with her on several Acoustic Theatre shows, and each time she has significantly elevated the work through her unique set of skills. I hope I'll be able to continue working with her for many years to come.'
September 2024
National Institute of Dramatic Art
Dr Benjamin Schostakowski: Head of Directing, Course LeaderNational Institute of Dramatic Arts
Intimacy Director and Educator
Shondelle is a consummate professional, an intuitive, enthusiastic creative and educator who is invested in the next generation of industry leaders and storytellers in this country. She hassupported numerous shows at NIDA as an internationally certified intimacy director and worked withmany of our emerging directors on their graduation shows.'
April 2024
Dr Benjamin Schostakowski: Head of Directing, Course LeaderNational Institute of Dramatic Arts
Intimacy Director and Educator
Shondelle is a consummate professional, an intuitive, enthusiastic creative and educator who is invested in the next generation of industry leaders and storytellers in this country. She hassupported numerous shows at NIDA as an internationally certified intimacy director and worked withmany of our emerging directors on their graduation shows.'
April 2024
JMC Academy
Simon Ward : Lecturer in Creative and Performing Arts
Workshop Educator- Consent in the Rehearsal Room
'Shondelle’s work has been, and continues to be, incredibly significant to the faculty and student cohorts. She balances a fierce intelligence, thirst for knowledge and professionalism with a performer/director/choreographer’s lived experience of the industry. As such she has a deep compassion for the students, their learning styles, abilities and journeys, and is able to communicate with them with clarity, humour, precision and skill. I have particularly appreciated the way she generously gives of her wisdom and extensive industry knowledge in discussing the ongoing revision and review of the curriculum, course resources and pedagogical approaches. '
April 2024
Simon Ward : Lecturer in Creative and Performing Arts
Workshop Educator- Consent in the Rehearsal Room
'Shondelle’s work has been, and continues to be, incredibly significant to the faculty and student cohorts. She balances a fierce intelligence, thirst for knowledge and professionalism with a performer/director/choreographer’s lived experience of the industry. As such she has a deep compassion for the students, their learning styles, abilities and journeys, and is able to communicate with them with clarity, humour, precision and skill. I have particularly appreciated the way she generously gives of her wisdom and extensive industry knowledge in discussing the ongoing revision and review of the curriculum, course resources and pedagogical approaches. '
April 2024
Excelsia College
Dr Mark Seton (PhD) : Lecturer in Creative and Performing Arts
Workshop Educator- Designing My Creative Career
'Shondelle has a rich and diverse background as an actor, theatre maker, director and educator which gives her an invaluably, unique and informed practice. It enables her to intervene strategically not only at the level of the performer, but also clarify and appropriately negotiate the requirements and expectations of directors and producers. '
March 2024
Dr Mark Seton (PhD) : Lecturer in Creative and Performing Arts
Workshop Educator- Designing My Creative Career
'Shondelle has a rich and diverse background as an actor, theatre maker, director and educator which gives her an invaluably, unique and informed practice. It enables her to intervene strategically not only at the level of the performer, but also clarify and appropriately negotiate the requirements and expectations of directors and producers. '
March 2024
Actors Centre Australia
Adam Cook: Head of Acting Bachelor of Performing Arts
Workshop Educator- Consent Mechanics
'Shondelle did a fantastic job with our acting students in creating and teaching workshops around consent in the rehearsal space. She was informative, provided useful tools that the students could implement as part of their practice and made the experience fun as well as rewarding. I look forward to working with her in the future. '
Dec 2022
Adam Cook: Head of Acting Bachelor of Performing Arts
Workshop Educator- Consent Mechanics
'Shondelle did a fantastic job with our acting students in creating and teaching workshops around consent in the rehearsal space. She was informative, provided useful tools that the students could implement as part of their practice and made the experience fun as well as rewarding. I look forward to working with her in the future. '
Dec 2022
SUKA
Tsu Shan Chambers: Producer/Writer/Performer
Intimacy Coordinator
“We were so blessed to have Shondelle as an integral member of our team for Suka. I knew our actors and our crew were in safe hands from the start, we felt comfortable and respected during the entire process and Shondelle made it FUN! The creativity she expressed through her choreography told a story in itself and brought the scenes to a different level. It was an empowering process. I can’t wait to work with Shondelle again – highly recommend.”
August 2022
Tsu Shan Chambers: Producer/Writer/Performer
Intimacy Coordinator
“We were so blessed to have Shondelle as an integral member of our team for Suka. I knew our actors and our crew were in safe hands from the start, we felt comfortable and respected during the entire process and Shondelle made it FUN! The creativity she expressed through her choreography told a story in itself and brought the scenes to a different level. It was an empowering process. I can’t wait to work with Shondelle again – highly recommend.”
August 2022
How I Learned to Drive
Tasnim Hossain: Director
Intimacy Director
The subject matter was immensely heavy, and Shondelle was instrumental in ensuring that I felt appropriately supported to tackle the work with my cast and creative team. Her ability to communicate with warmth and humour helped us in the rehearsal room to instil strong check-in and check-out practices, as well as robust consent mechanisms, useful ways to depersonalise physical actions, and a language around touch and breath. Throughout, the students commented on how much they had learnt during the process and and how safe and supported they had felt, during rehearsals as well as the show’s run.
July 2022
Tasnim Hossain: Director
Intimacy Director
The subject matter was immensely heavy, and Shondelle was instrumental in ensuring that I felt appropriately supported to tackle the work with my cast and creative team. Her ability to communicate with warmth and humour helped us in the rehearsal room to instil strong check-in and check-out practices, as well as robust consent mechanisms, useful ways to depersonalise physical actions, and a language around touch and breath. Throughout, the students commented on how much they had learnt during the process and and how safe and supported they had felt, during rehearsals as well as the show’s run.
July 2022
Reviews
Your Name
Purple Tape Productions
Playwright: Kate Bubalo
Intimacy Director
June 2023
Purple Tape Productions
Playwright: Kate Bubalo
Intimacy Director
June 2023
Andrew Fraser and Evelina Singh
Photo credit: Georgia Brogan |
Working with Intimacy Coordinator Shondelle Pratt and the performers Hayman and co captured the Barbies smashing their bits together sexuality of fanfiction to raucous laughter on the preview performance I attended. The exaggerated noises and motions coupled with the hilarious and intentionally overworked dialogue by Bubalo made for uncomfortably fun viewing, but also made me acutely aware of how vital intimacy coordination must be for this production. I mentioned the Barbies before, now picture how that looks when it is humans. You would need to be explicitly comfortable with the person performing with you and if you are not, the audience will be uncomfortable for the wrong reasons. Hayman and her team have clearly created a safe environment that has allowed for a play with this content to be done so successfully. ' Daniel Conway The Fourth Wall June 2024 |
Frame Narrative
New Ghost Theatre
Intimacy Director
March 2023
New Ghost Theatre
Intimacy Director
March 2023
|
'Lynn’s script compassionately paints complex and flawed female characters across two different stages of life. These characters express layered experiences of love, joy, betrayal, pain, anxiety, embarrassment, and gracious acceptance – and this cast of actors give every moment its justice.' Vannie Krishnan Timeout Feb 2024 |
Frame Narrative
New Ghost Theatre
Intimacy Director
March 2023
New Ghost Theatre
Intimacy Director
March 2023
|
'Directed by Lucy Clements, Frame Narrative is a provocative inquiry into authorship, adaptation and collaboration. In the theatre, as in film, the final result is an amalgam of talents of which the writer is the progenitor not the final arbiter. The play’s denouement discusses this with vigour.' Richard Cotter Australian Stage March 2024 |
Turn of The Screw
Tooth and Sinew
Intimacy Director
August 2023
Tooth and Sinew
Intimacy Director
August 2023
Teenage Dick
Divergent Theatre & Flightpath Theatre Intimacy Director July 2023 
|
'Richard Hilliar’s The Turn of the Screw takes an insightful and engaging approach to interpreting James’ literary classic. Every element of this production is meticulously thought-out and elegantly cohesive, making for an excellent night at the theatre. Bella Wellstead Theatre Travels August 2023 'Our cultures seem very accustom to portrayals of disadvantaged members of society, as either long-suffering and noble, or despicable and Machiavellian. In Teenage Dick we are urged to consider our marginalised as being thoroughly human, with as many virtues and faults as anyone thought of as normal. We understand that Richard could have done the right thing, or the wrong, because the ability to go either way, is thoroughly and disappointingly, the truth about who we all are. Suzy Go See July 2023 |
Albion
New Ghost Theatre
Intimacy Director
August 2022
New Ghost Theatre
Intimacy Director
August 2022
|
'This is the real deal: the magic that makes us keep returning to the theatre. Here’s so much truth, beauty, humanity, comedy, drama and even tragedy that it fills the stage and overflows into the hearts of the audience. Here are unabashedly big ideas and bigger characters, moulded by a master playwright who relishes their egocentricity, lies and bitterness as much as their humour, compassion and capacity for love.'
- JOHN SHAND- The Sydney Morning Herald |
Yellow Face: KXT
Directed by Tasnim Hossain
Intimacy Director
April 2021
Directed by Tasnim Hossain
Intimacy Director
April 2021
|
Today we seem to be more aware of difference than we ever did before. For some, identity politics is bothersome, but for others it is liberating and empowering. We can no longer be complacent and assume that all individuals experience the world in the same way. As we endeavour to improve lives, it is important that we understand, deeply, the nature of our communities, with all their nuances and divergences. Above all, we need to find ways to manifest into reality the old adage that, although we are all different, we are all equal. Yellow Face is part of that conversation
.Suzy Wrong |
Fat Musicals: A Body of Work
Maeve Marsden and Libby Wood
Choreographer
June 2019
Maeve Marsden and Libby Wood
Choreographer
June 2019
|
"... The finale is a triumph with much credit to dance arranger Shondelle Pratt. We have heard Marsden suggesting all things Cats throughout the show, only to have all such ideas firmly squashed by Wood. So, when she appears in a leopard print onesie and cat ears, the audience cheered. Marsden and Wood demonstrated beyond doubt that fat women can be the stars of any musical..."
- Jan Kershaw, Glam Adelaide “I’m not kidding when I say this is my pick of the whole festival. I saw their show in 2015 and I didn’t think it was possible for that calibre of comedy to be exceeded, but they have done that with their new show and I’m a little in love with the brains that came up with the whole thing. A comedy cabaret that makes your ears endlessly happy while having you in stitches at the fact so many pop songs are endlessly creepy when you stop to think about it for two seconds.” -The Plus Ones review by Jasmin Ashton, April 15 2016 |
Metamorphosis
Clock and Spiel Productions
Movement Director
March 2019
Clock and Spiel Productions
Movement Director
March 2019
Metamorphosis by Clock and Spiel is a wonderful production confidently directed and beautifully performed. Yannick Lawry is light and cheerful as the villainous father giving a perfect performance shrouded in the “Why?” that his character represents. Hailey McQueen is excellent as the put-upon mother who never quite remembers that the creature is her son. The shocking distance of Gregor’s parents is one of the horrors of Metamorphosis and the pair here give extra weight to the absurdity that virtually leaves Gregor orphaned. Madeline Miller is a particularly strong Grete, embodying new ideas and an obvious independence into her role such that Grete almost convinces us she is in command of that which controls her. Sam Gilissan is a marvelous Gregor, beautifully encouraged in his ‘bug’ movements by Shondelle Pratt (movement director) as he shuffles around in a gorgeous mask designed by Lucy McCullough and built by Luke D’Alessandro. Side characters Julian Lawrence as the smarmy lodger Fischer and Victoria Greiner (who is always a joy to watch) as a calculating Stietl are well directed and bring as much to their important side roles as the leads.
This is an interesting, charming interpretation of Metamorphosis that will satisfy those who do not know the story (if Kafka’s tale can ever be called satisfying) and excite those who may have seen it many times before.
-Lisa Thatcher
This is an interesting, charming interpretation of Metamorphosis that will satisfy those who do not know the story (if Kafka’s tale can ever be called satisfying) and excite those who may have seen it many times before.
-Lisa Thatcher
You Got Older
Mad March Hare Theatre Company
Intimacy Choreographer
August 2018
Mad March Hare Theatre Company
Intimacy Choreographer
August 2018
★★★★ An impressively high level of craft
-The Sydney Morning Herald
★★★★ Pitch perfect performances
-The Audrey Journal
★★★★ Beautifully observed...this excellent production feels disarmingly real
-The Sunday Telegraph
Wonderfully captivating
- Suzy Goes See
Blazingly good work...Theatre for the soul
-Sydney Arts Guide
A great joy... Completely unpredictable
- Stage Whispers
-The Sydney Morning Herald
★★★★ Pitch perfect performances
-The Audrey Journal
★★★★ Beautifully observed...this excellent production feels disarmingly real
-The Sunday Telegraph
Wonderfully captivating
- Suzy Goes See
Blazingly good work...Theatre for the soul
-Sydney Arts Guide
A great joy... Completely unpredictable
- Stage Whispers
Bengal Tiger At The Bagdad Zoo
Mad March Hare company
Movement Director
April 2017
Mad March Hare company
Movement Director
April 2017
A sublime example of evocative collaboration, Bengal Tiger at the Baghdad Zoo finds its place among the provocative, transgressive and universal. Highly Recommended.
- Lisa Thatcher
The production’s extraordinary intensity is determined to have us embroiled. It is powerful work.
- Suzy Goes See
An unexpected pleasure. One of the highest order…
Do not miss this production if you cherish theatrical excellence.
- Kevin Jackson’s Theatre Diary
Brilliantly executed
- Ben Neutze Daily Review
“Strong and detailed….powerful and stirring…. emotionally gripping...”
- Jason Blake Timeout
- Lisa Thatcher
The production’s extraordinary intensity is determined to have us embroiled. It is powerful work.
- Suzy Goes See
An unexpected pleasure. One of the highest order…
Do not miss this production if you cherish theatrical excellence.
- Kevin Jackson’s Theatre Diary
Brilliantly executed
- Ben Neutze Daily Review
“Strong and detailed….powerful and stirring…. emotionally gripping...”
- Jason Blake Timeout
Diary of a Wombat
Monkey Baa Theatre Company
Performer
February 2017
Monkey Baa Theatre Company
Performer
February 2017
Diary of a Wombat offers the kind of magical experience that every child has a right to expect in the theatre, with pared-back theatrical techniques, tight performances, design that honours the material, and great old-school puppetry. Halfway through Mothball’s performance a kid near to Time Outblurted out “it’s alive!” – which is surely what every puppeteer wants to hear.
- Claire Sandford Timeout
Nature, represented by Mothball, the wombat, explores his territory in search of food for his survival and comes into contact, conflict, with two humans who have built a home and gardens
in his natural vicinity. Using puppetry, Design and Construction, by Bryony Anderson, three actors: Michael Cullen, Julia Ohannessian and Shandelle Pratt, under movement direction from Alice Osborne, enact this clash of 'land' possession, the actors, beside manipulating and creating the personality of the wombat, also play the husband and wife of the new house.
It is all enchanting.
It is also a particularly daring concept, as there is no spoken text for the 50 minutes, or so, of the action of the performance. There is only a live and electronically communicated Cellist, Mary Rapp, to accompany the incidents/adventures of the clash of the two species. Daring because the audience target is mostly aimed at the very, very, young. That that audience became almost instantly involved is a great gift to witness. The mature surety of the Monkey Baa Directors and their knowledge of the sophistication of its audience pays off in 'spades'. Eva Di Cesare has Directed the production. Set and Costume Design, by Imogen Ross, sympathetically lit by Matt Cox with a Sound Design by Kingsley Reeve.
- Kevin Jackson
- Claire Sandford Timeout
Nature, represented by Mothball, the wombat, explores his territory in search of food for his survival and comes into contact, conflict, with two humans who have built a home and gardens
in his natural vicinity. Using puppetry, Design and Construction, by Bryony Anderson, three actors: Michael Cullen, Julia Ohannessian and Shandelle Pratt, under movement direction from Alice Osborne, enact this clash of 'land' possession, the actors, beside manipulating and creating the personality of the wombat, also play the husband and wife of the new house.
It is all enchanting.
It is also a particularly daring concept, as there is no spoken text for the 50 minutes, or so, of the action of the performance. There is only a live and electronically communicated Cellist, Mary Rapp, to accompany the incidents/adventures of the clash of the two species. Daring because the audience target is mostly aimed at the very, very, young. That that audience became almost instantly involved is a great gift to witness. The mature surety of the Monkey Baa Directors and their knowledge of the sophistication of its audience pays off in 'spades'. Eva Di Cesare has Directed the production. Set and Costume Design, by Imogen Ross, sympathetically lit by Matt Cox with a Sound Design by Kingsley Reeve.
- Kevin Jackson
Where Do Little Birds Go To?
Redline Productions
Intimacy Choreographer
August 2016
Redline Productions
Intimacy Choreographer
August 2016
Giles Gartrell-Mills' direction makes seamless use of Vincent's chortle-inducing characterisation, and gets inventive with what at first glance appears to be a pretty static set, but turns out to be a comedy piece in and of itself, replete with squeaky bed and the past-its-prime recliner. Brodie Simpson's costume design completes the aesthetic of London's 1960s underbelly, and too seems purpose-built to provide an imbued humour. Liam D Kemp accompanies the show with sixties standards, with Shondelle Pratt's choreography to add a layer of depth and dreaminess to Vincent's performance.
-Brodie Paparella Broadway World
-Brodie Paparella Broadway World
Dark Vanilla Jungle
Mad March Hare Theatre Company
Intimacy Choreographer
September 2015
Mad March Hare Theatre Company
Intimacy Choreographer
September 2015
"Fiona Hallenan-Barker and Emma Louise and the design team realise this piece perfectly...Claudia Barrie sets a standard that will be hard to beat in this year’s festival.
-Theatre Now - Read the complete review here
Claudia Barrie’s astounding performance impresses with a savage depth that is rarely encountered.
-Suzy Goes See - Read the complete review here
Remarkable...provocative...frightening....top-notch theatre...One of the best things I've seen all year.
-Lisa Thatcher - Read the complete review here
Beautifully convincing... alarmingly confronting.
-The Buzz From Sydney- Read the complete review here
This production has fully realised the dramatic possibilities of this excellent piece of writing.
- Sydney Arts Guide
-Theatre Now - Read the complete review here
Claudia Barrie’s astounding performance impresses with a savage depth that is rarely encountered.
-Suzy Goes See - Read the complete review here
Remarkable...provocative...frightening....top-notch theatre...One of the best things I've seen all year.
-Lisa Thatcher - Read the complete review here
Beautifully convincing... alarmingly confronting.
-The Buzz From Sydney- Read the complete review here
This production has fully realised the dramatic possibilities of this excellent piece of writing.
- Sydney Arts Guide
The Last of the Red Hot Mamas
Marika Aubrey
Choreographer
March 2014
Marika Aubrey
Choreographer
March 2014
This is a simply terrific show! Aubrey has crafted a wonderful piece of music theatre… Aubrey has a fabulous voice, impeccable diction and the musical arrangements are wonderful…
Aubrey is versatility itself. She can belt out a big number (tunefully), swivel syncopated dance moves and emotionally move the audience with heartfelt and beautifully articulated, regretful blues…
The full house was attentive and grew more and more vociferous in their appreciation of this delightful package.
Aubrey and Kennedy could take this marvellous concoction anywhere in the worldwide festival/cabaret scene and hold their heads high. A class act!
Claire Condry Australian Stage
Marika Aubrey, in The Last of the Red Hot Mamas, masterfully revives the music, the comedy and the life of the Sophie Tucker in a personal and powerful cabaret contribution… Aubrey’s show well and truly exceeded all expectations. The combination of a formidable voice and stellar acting drew the audience forever closer, and is a major draw card…Aside from that voice, Audrey’s writing is the shows greatest attribute… Aubrey dances effortlessly between a number of characters, and this aspect of the performance is truly engaging.
The music, with Geoffrey Castles leading the polished Five Kings of Syncopation, is brilliant. Aubrey’s comic performance of Nobody Loves a Fat Girl, but Oh How a Fat Girl Can Love is a crowd highlight…”
Rowan James Aussie Theatre
Aubrey is versatility itself. She can belt out a big number (tunefully), swivel syncopated dance moves and emotionally move the audience with heartfelt and beautifully articulated, regretful blues…
The full house was attentive and grew more and more vociferous in their appreciation of this delightful package.
Aubrey and Kennedy could take this marvellous concoction anywhere in the worldwide festival/cabaret scene and hold their heads high. A class act!
Claire Condry Australian Stage
Marika Aubrey, in The Last of the Red Hot Mamas, masterfully revives the music, the comedy and the life of the Sophie Tucker in a personal and powerful cabaret contribution… Aubrey’s show well and truly exceeded all expectations. The combination of a formidable voice and stellar acting drew the audience forever closer, and is a major draw card…Aside from that voice, Audrey’s writing is the shows greatest attribute… Aubrey dances effortlessly between a number of characters, and this aspect of the performance is truly engaging.
The music, with Geoffrey Castles leading the polished Five Kings of Syncopation, is brilliant. Aubrey’s comic performance of Nobody Loves a Fat Girl, but Oh How a Fat Girl Can Love is a crowd highlight…”
Rowan James Aussie Theatre
The Small Poppies
The New Theatre
Assistant Director / Choreographer
January 2013
The New Theatre
Assistant Director / Choreographer
January 2013
Shondelle Pratt (herself a luminous actor) is credited as choreographer. I’m assuming that encompasses all movement on stage and, if so, she’s done a surpassing job, for all the actors move authentically like children of ’roundabout the deemed age. It’s one of the key successes of the production and carries a good deal of the comedic burden.
- Crikey Ing Sydney
- Crikey Ing Sydney
Carrie The Musical
Squabbalogic
Choreographer
November 2013
Squabbalogic
Choreographer
November 2013
Completely riveting... a moving moody, blood-red meditation on teenage hierarchy and coming of age.
Moody understands that Carrie isn’t a simple horror story – it’s a tragedy. When Hilary Cole sings her first number, “Carrie”, or when Margi de Ferranti sings “I Remember How Those Boys Could Dance”, they transcend caricature and become deeply human, and their struggle to be more than doomed is almost Shakespearean in its futility. When Adele Parkinson stands trembling in a spotlight, full of sorrow and regret, and when the ensemble dance together at Chris’s party, youthful and impulsive and somehow very real in such a hyper-real setting and show, this couldn’t be anything else but a sad, electric story. On opening night, we left the theatre and walked into a thunderstorm. Lightning flashed, thunder roared; the message was clear: Carrie is here, and she will have your respect.
-Cassie Tongue Aussie Theatre
Choreographer Shondelle Pratt has developed a vocabulary of deliberately jerky, angular moves, in which the teens dance like they have a whole lot of energy to get out of their system. The energetic company numbers are a swirl of constant motion, with alternating unison and individual moves to complement the multiple vocal lines of the songs.
-Simon Parris Man in Chair
Moody understands that Carrie isn’t a simple horror story – it’s a tragedy. When Hilary Cole sings her first number, “Carrie”, or when Margi de Ferranti sings “I Remember How Those Boys Could Dance”, they transcend caricature and become deeply human, and their struggle to be more than doomed is almost Shakespearean in its futility. When Adele Parkinson stands trembling in a spotlight, full of sorrow and regret, and when the ensemble dance together at Chris’s party, youthful and impulsive and somehow very real in such a hyper-real setting and show, this couldn’t be anything else but a sad, electric story. On opening night, we left the theatre and walked into a thunderstorm. Lightning flashed, thunder roared; the message was clear: Carrie is here, and she will have your respect.
-Cassie Tongue Aussie Theatre
Choreographer Shondelle Pratt has developed a vocabulary of deliberately jerky, angular moves, in which the teens dance like they have a whole lot of energy to get out of their system. The energetic company numbers are a swirl of constant motion, with alternating unison and individual moves to complement the multiple vocal lines of the songs.
-Simon Parris Man in Chair
A Year with Frog and Toad
Ensemble Theatre
Choreographer
April 2013
Ensemble Theatre
Choreographer
April 2013
Sharp choreography by Shondelle Pratt ensures the least engaged small tot is totally riveted for the 60 minutes that, in any event, fly by in a whirl of sweetly uplifting stories about the unlikely pals.
- Diana Simmonds Stage Noise
Crawford has put together a great crew. A fabulous set by Anna Gardiner, razor sharp choreography by Shondelle Pratt, atmospheric and beautiful lighting by Matthew Marshall, fine costumes by Margaret Gill and sound design by Daryl Wallis.
- Bronwyn Fullerton Sydney Arts Theatre
- Diana Simmonds Stage Noise
Crawford has put together a great crew. A fabulous set by Anna Gardiner, razor sharp choreography by Shondelle Pratt, atmospheric and beautiful lighting by Matthew Marshall, fine costumes by Margaret Gill and sound design by Daryl Wallis.
- Bronwyn Fullerton Sydney Arts Theatre
Falsetto's
Darlinghurst Theatre Company
Assistant Director
February 2013
Darlinghurst Theatre Company
Assistant Director
February 2013
Sung through, Falsettos – directed by Stephen Colyer – is a hyper-frenetic low-fi eruption. Performed with only a piano, a mostly-bare set and no amplification, the exploration of character emerges in two distinct, crucial areas: in the vocal arrangements, and in the choreography.
The choreography is a melokinetic feast and deeply embedded in this production’s DNA. Highly stylised, the movement favours the hands: twisting, pulling, wringing. It’s neurotic, sometimes confrontational, sometimes extremely careful, and it’s a clever outward representation of the emotions suppressed by the characters. When they reach their breaking points, the choreography moves into something full-bodied and all-encompassing: the repetitious, tic-modeled format lends itself to Trina’s exercise-themed breakdown (“I’m Breaking Down”) and it’s aggressive, reminding us that it’s funny to watch, but still pretty confronting for these characters.
- Cassie Tongue Aussie theatre
The choreography is a melokinetic feast and deeply embedded in this production’s DNA. Highly stylised, the movement favours the hands: twisting, pulling, wringing. It’s neurotic, sometimes confrontational, sometimes extremely careful, and it’s a clever outward representation of the emotions suppressed by the characters. When they reach their breaking points, the choreography moves into something full-bodied and all-encompassing: the repetitious, tic-modeled format lends itself to Trina’s exercise-themed breakdown (“I’m Breaking Down”) and it’s aggressive, reminding us that it’s funny to watch, but still pretty confronting for these characters.
- Cassie Tongue Aussie theatre
Managing Carmen
Ensemble Theatre
Choreographer
December 2012
Ensemble Theatre
Choreographer
December 2012
You will have noticed that I’ve listed the team (nowadays known as ‘creatives’). That’s because, in this case, Kilmurry’s direction, Pratt’s choreography, Butler’s design – especially the integration of video and sound – and Thatcher’s hair and make-up, with Mimmocchi’s costumes absolutely matched the brilliance of the script. The actors – Rachel Gordon (Jessica), Glenn Hazeldine (Rohan Swift), David Hynes (Max), Morgana O’Reilly (Clara) and Leigh Scully (in the central role of AFL footballer, Brent Lyall) – enjoyed every scene as their expressive movement and voice skills were extended to the max. The final scene brought a great burst of applause from the whole audience, everyone in the circle of the in-the-round theatre space emotionally linked in the joy of the moment.
- Frank McKone Canberra Critics Circle
Director Mark Kilmurry has fielded a strong team overall though. Shondelle Pratt’s choreography inspires a lot of unbridled fun and helps no end in upping the pulse. When I see television screens implicated in a set I hold my breath a little, as they’re so rarely exploited well. I needn’t have worried. By flashing varying images onto one or more screens at a time, designer Steven Butler has derived an ingenious way to set new scenes sans the distraction of shuffling props and such around. Speaking of ingenious, I presume it was Kilmurry’s decision to butt scenes hard up against each other. Not only is an actor from a previous scene sometimes left on stage, but there are comings and goings even while scenes are unfolding. It’s doubtful such bravery would be deemed workable if only considered theoretically, but putting it into practice sets a template other producers should take a good, hard look at it. It’s a revelation. I also particularly favoured the selection and use of music.
- Crikey inq
- Frank McKone Canberra Critics Circle
Director Mark Kilmurry has fielded a strong team overall though. Shondelle Pratt’s choreography inspires a lot of unbridled fun and helps no end in upping the pulse. When I see television screens implicated in a set I hold my breath a little, as they’re so rarely exploited well. I needn’t have worried. By flashing varying images onto one or more screens at a time, designer Steven Butler has derived an ingenious way to set new scenes sans the distraction of shuffling props and such around. Speaking of ingenious, I presume it was Kilmurry’s decision to butt scenes hard up against each other. Not only is an actor from a previous scene sometimes left on stage, but there are comings and goings even while scenes are unfolding. It’s doubtful such bravery would be deemed workable if only considered theoretically, but putting it into practice sets a template other producers should take a good, hard look at it. It’s a revelation. I also particularly favoured the selection and use of music.
- Crikey inq
Bear Hunt
Ensemble Theatre
Performer/Choreographer
April 2012
Ensemble Theatre
Performer/Choreographer
April 2012
Accompanying them on their journey is Shondelle Pratt who, as well as being the ‘voices’ of Bert and Max, provides a plethora of sound effects from an eclectic collection of noisy toys, balloons, a bucket of water, garbage tin lids and wooden spoons. Despite a very energetic and busy hour, Pratt did not miss a beat – and appeared to love every minute of her demanding roles. She was particularly endearing as she sang Max’s song. Audience interest was directed to the animation of the dog by all three actors, but it was even more interesting to watch Pratt’s lovely facial expressions as she sang.
-Stage Whispers
http://www.stagewhispers.com.au/reviews/we’re-going-bear-hunt
Sitting for the most part behind an amazing array of domestic paraphernalia and toys that's actually an extensive percussion and SFX kit is the hardworking Shondelle Pratt. She also provides the voices for baby Bert and Max the Dog (puppet and soft toy respectively). She's also the choreographer for the show, which says a lot about the multi-skilling capabilities of the modern actor.
-Diana Simmonds Stage Noise
-Stage Whispers
http://www.stagewhispers.com.au/reviews/we’re-going-bear-hunt
Sitting for the most part behind an amazing array of domestic paraphernalia and toys that's actually an extensive percussion and SFX kit is the hardworking Shondelle Pratt. She also provides the voices for baby Bert and Max the Dog (puppet and soft toy respectively). She's also the choreographer for the show, which says a lot about the multi-skilling capabilities of the modern actor.
-Diana Simmonds Stage Noise
A New Brain
Squabbalogic
Performer
September 2011
Squabbalogic
Performer
September 2011
Here, not a single cast member steps out of line. Each an intricate spoke in the relentless performance machine Salle has wheeled up to
deliver. Each production number a new and exciting visual treat for the audience. Every scene pops with illumination with these people to blame:
Daley shines as Rhoda, her character hardly leaving the side of protagonist Schwinn and giving it her all with a really perverse ventriloquist act.
Likewise, Daly is fierce as Schwinn's mother, exuding raw emotion, taking almost criminal advantage of the song Throw It Out.
Erickson as Schwinn's partner Roger is simply amazing- baring his soul to the audience, he doesn't miss a beat to get that last tear from you.
James-Moody has to be seen to be believed.
Leahy, as Schwinn, brings a beautiful and fragile arrogance to the role that balances his character perfectly to the ensemble. Tossed and pulled in every direction- he hardly needs to take a step all night.
Murphy is fabulously hilarious and an eyebrow expressionist scene stealer.Pratt gives it all and a half- belting her narration and staring down the audience.
-Kenny Blog
Shondelle Pratt lights up the stage as a homeless woman, a choric figure (a New York version of the bird-feeding beggar lady in Mary Poppins, if you like) whose day-at-a-time philosophy stands in marked contrast to just about everyone else’s.
-Jason Blake Sydney Morning Herald
Shondelle Pratt is a scream as an unnamed Homeless Lady with an eye for opportunity. Her character’s presence is never really explained, though it does provide the musical with one of its few showstoppers,
-Christian Baines Same Same
deliver. Each production number a new and exciting visual treat for the audience. Every scene pops with illumination with these people to blame:
Daley shines as Rhoda, her character hardly leaving the side of protagonist Schwinn and giving it her all with a really perverse ventriloquist act.
Likewise, Daly is fierce as Schwinn's mother, exuding raw emotion, taking almost criminal advantage of the song Throw It Out.
Erickson as Schwinn's partner Roger is simply amazing- baring his soul to the audience, he doesn't miss a beat to get that last tear from you.
James-Moody has to be seen to be believed.
Leahy, as Schwinn, brings a beautiful and fragile arrogance to the role that balances his character perfectly to the ensemble. Tossed and pulled in every direction- he hardly needs to take a step all night.
Murphy is fabulously hilarious and an eyebrow expressionist scene stealer.Pratt gives it all and a half- belting her narration and staring down the audience.
-Kenny Blog
Shondelle Pratt lights up the stage as a homeless woman, a choric figure (a New York version of the bird-feeding beggar lady in Mary Poppins, if you like) whose day-at-a-time philosophy stands in marked contrast to just about everyone else’s.
-Jason Blake Sydney Morning Herald
Shondelle Pratt is a scream as an unnamed Homeless Lady with an eye for opportunity. Her character’s presence is never really explained, though it does provide the musical with one of its few showstoppers,
-Christian Baines Same Same
The Great American Trailer Park Musical
Squabbalogic
Performer
November 2010
Squabbalogic
Performer
November 2010
"I’ve seen Shondelle Pratt, to varying effect, in a few New productions lately, but for The Great American Trailer Park Musical, it’s as if Betty is the role she was born to play. Always charismatic and engaging, that indefinable something really comes to the fore as the generously-proportioned keeper of the keys at Armadillo Acres, the most exclusive caravan community in all northern Florida. She has the swagger and all the moves, not to mention a more than capable singing voice..."
- Crikey inq
- Crikey inq