Press Reviews

“A wonderfully grounded and understated performance keeps this show relatable.”

“A good debut from this talented troupe, though I don’t doubt for a second that there is more to come from Front Foot Theatre.”

“Brilliant and compelling performances from the lead actors, and the scenic backdrop effectively captures the simplicity and stillness of the natural setting.”

“The small space makes the explosive lead performance of Kim Hardy all the more poignant. In such close quarters, it is impossible not to feel real sympathy for a man whose promising life is falling apart, while his fierce outbursts leave the audience touched, feeling almost awkward to be sharing such moments of vulnerability.”

“Julia Papp, in particular, delivers a simultaneously disturbing and moving performance. Her childish, out-of-place hope stands out as a beacon which the audience can’t help but cling to as the gloom of the Russian countryside encroaches.”

“No one better keeps the audience engaged than old Uncle Sorin (Stephen Christos) who steals the show with a masterclass in comic timing.”

“Louise Templeton delivers probably the strongest performance as the ageing actress, who must convince herself and her audience that she is as young as she looks and acts.”

“James Tweedy is promising in the small role of Medvedenko, reacting excellently to Masha’s casual slights.”

“Amongst the main roles the stand out success was the gloriously natural performance of Louise Templeton as Arkadina – she delivered the line where she tells Konstantin that Nina will love him again after she’s taken Trigorin away as if she had no conception of how insulting this was to him.”

“Overall the cast conveyed the emotions and insecurities of these complex characters truthfully and passionately. Their approach to the work further demonstrates the desire for honesty and freedom in love and art, which can be seen as the key concerns in The Seagull.”

“Very fine show, which would have sat perfectly well in a West End Theatre”

‘Hits the mark, strong performances’

“Proof is a great story brought to us by a brilliant cast and an intelligent director.”

“Subtle and memorable performances.”

“There is great chemistry between the cast as a whole.”

“Proof delivers strong performances across the board.”

“Important and brilliant piece of theatre”

“Proof is undoubtedly a beautifully written play, and Front Foot’s production is intimate and powerful.”

“A rewarding and stimulating piece of theatre.”

“The acting was absolutely superb.”

“The show is breathtaking.”

“Julia Papp gives a strong and believable performance as Catherine. While we see her mourning for her loss, we also catch glimpses of her feistier and jokey self.”

“Mary-Ann Cafferkey is scene-stealing as the estranged sister.”

“Front Foot Theatre’s production brings out the script’s humour and uses stark character contrast to easily generate external conflict.”

“Michael Leopold’s dilapidated house is a wonderful set, more complex than most in a fringe theatre. It looks well-crafted and sturdy, an excellent finishing touch to a play grounded in modern naturalism.”

“The cast is led by Julia Papp, who gives a powerfully emotional performance, capturing Catherine’s extreme fragility and carrying the audience with her as her mood veers between infectious joy and utter despair.”

“Mary-Ann Cafferkey is great as Catherine’s humourless and well-to-do older sister Claire.”

“A quietly impressive performance from Tim Hardy as Robert, Catherine’s brilliant father, whose moments of calm lucidity and gentle humour (the pasta rant is particularly wonderful) contrast sharply with the distress and confusion he suffers as a result of his illness.”

“There was so much to enjoy about this production of David Auburn award-winning play including the haunting sound design by composer Chris Roe and the simple set by Michael Leopold.”

“Michael Leopold’s design is essentially simple but the added elements of leaves caught in drain pipes and the dingy colouring of the wood on the house really set the idea of an aged and broken home.”

“Kim Hardy as Hal is geeky and endearing to watch as the shy love interest for Catherine.”

“A commendable performance goes to Mary-Anne Cafferkey who plays Claire as the bossy controlling sister, and with perfect comedic timing manages to steal some of the scenes for herself.”

“Mary-Ann Cafferkey gives a glittering performance as the awful, insensitive, but actually well meaning, sister.”

“One of the stars is the fine, intricate and just beautiful set design by Michael Leopold, perfect for the intimacy of The Tabard. I’ve been many times to that theatre and the stage has never seemed so large. It was as if he put the whole world into that small space.”

“Kim Hardy is outstanding on the stage, utterly convincing as the voice of sanity.”

“It is thought-provoking, reassuring and honest. And it is also rather amusing with some top jokes.”

“The Tabard’s limited stage space has been cleverly turned into the porch of a Chicago family home by designer Michael Leopold’s beautiful set (Offie-nominated), which has a level of detail that’s far beyond what I’ve come to expect from Fringe productions.”

“At the centre of this production of Proof is the moving and multifaceted performance of Julia Papp as Catherine. The chemistry between her and the other characters is perfect.”

“The father-daughter relationship is full of heart on both sides and Tim Hardy’s Robert is a wonderful presence on the stage, I kept wanting him to come back! His last scene with Catherine is devastatingly sad and played with real mastery.”

“We get a lot of resentment in Mary-Ann Cafferkey’s Claire. But her excellent performance (another well-deserved Offie nomination) is also full of humour with references to her ‘organic’ New York life with fiancé Mitch, unseen but ever-present in her words, being perfectly unbearable. Cafferkey is deliciously irritating.”

“Kim Hardy makes for a fantastic Woody-Allenesque Hal, portraying him as a geeky but charming mathematician coming to terms with the fact that he might never make it into the Mathematics hall of fame after all.”

“Director Sebastien Blanc does a brilliant job with this strong cast and takes very good care of Auburn’s script without missing a beat.”

“It’s surprising how engaging a play about maths can be.”

“Offering some of the most breath-taking fights I’ve ever seen on stage, elements of mime and puppetry, brilliant comedic gems and Hardy’s unforgettable performance, Front Foot Theatre’s Richard III is for sure an unmissable production and one of the highlights of my personal experience.”

“a superbly talented and strong cast in an excitingly intense, fresh and modern adaptation of Richard III.”

“the company was spectacularly talented and united flawlessly to produce an honest and enthralling piece”

“Anyone who still thinks that Shakespeare is dull needs to see this show.”

“Hardy is supremely engaging and is one of the best Richards I’ve seen. He is animistic, beastly, and erratic, brutal, and often terrifying.”

“Kim Hardy’s Richard is very believable; he is single-minded, cunning, cruel, dangerous and manipulative”

“The infamous Richard III was played by Kim Hardy who embodied the character with impressive conviction. He exuded a charismatic yet menacingly deceitful aura whilst maintaining even the smallest details in displaying his character’s deformities. Such raw talent is a joy to watch.”

“Julia Papp’s Lady Anne is a powerful match for Hardy’s Richard. Papp and Hardy sustain the rapid-fire pace of their dialogue with great ease and intensity. It is fantastic watching the insults she throws at Richard and how he counters it with the audacity of trying to woo her.”

“Kim Hardy portrays Richard as a subtly menacing villain.”

“Harvey’s portrayal is absolutely convincing; it is easy to suspend disbelief as she was so visceral”

“this production of Richard III was highly impressive and made for a very enjoyable evening”

“Bishop of Ely, superbly played by Luke MacLeod”

“It was a clever idea to use puppets to depict the children, especially the two princes, as this emphasizes their innocence and fragility.”

“strong performance from Helen Rose Hampton as Queen Elizabeth, who comes across as a survivor, cutting Richard with a sharp and cruel wit, which is passionate and true. Her hunger for revenge felt like it was torn out of her.”

“Other notable performances include the remorse of Alex Stevens as James Tyrell, his distress at murdering the two princes felt genuine.”

“Guy Faith is brilliantly chilling and merciless as the Duke of Buckingham”

“The last battle scene is fast and furious, full of clashing swords and death. Because of the intimacy of the staging, I felt I was in the thick of it. Although it is not gory, it is nonetheless realistic.”

“The slick contrast between comedy and conflict achieved throughout the production was particularly impressive, with the audience being tossed between light-hearted slapstick and cold-blooded killings with a skillful ease.”

“Live fight scenes happened only a stone’s throw in front of you making it hard not to become completely immersed.”

“The production fits perfectly into this small, unique theatre. The intimacy of the setting was further accentuated with apt lighting design by Kiaran Kesby and moody music, which together gave some scenes a particularly sinister feel.”

“this production of Richard III was highly impressive and made for a very enjoyable evening”

“Thanks to director Lawrence Carmichael, the setting, design and exceedingly good acting came together seamlessly to produce a truly stunning representation of a much-loved story.”

“I highly recommend this production and the fabulous Front Foot Theatre company for an excellent evening of theatre.”

“The Duke of Buckingham, played by Guy Faith, acts wonderfully as his sinister right-hand man.”

“the real stand out performances lie with the females in this play, particularly Helen Rose Hampton as Queen Elizabeth and Fiona Tong as the Duchess of York. The strength of their characters easily shines through”

“Lighting (Kiaran Kesby) adds a lot to the space: uplighting the actors gives them a sinister glow and dark spaces allow characters to lurk in shadows.”

“One of the cleverest parts of this production is the use of puppets (made by Jenny Dee) to portray the infamous Princes in the Tower. These work well due to the actors both operating and voicing them. It would have been easy for this to come across as silly, but they manage to avoid that completely.”

“With Shakespeare it’s easy to get too carried away and caught up in things but this adaption remains grounded and easily understandable.”

“Starting with the battle of Tewkesbury, Director Lawrence Carmichael kicks the production off with a bang and doesn’t let the action slow down at any point. The time sped by and I never found my attention wandering at any point.”

“casting Richard is no easy feat and Kim Hardy really is perfect in the role. Determined when talking to the audience, obsequious when he needs to be. Kim is the Richard III that Shakespeare would have cast. With his flowing locks and black beard, even when sat on his throne, he exudes energy and drive, and as the story unfolds, you can see his mind constantly working on ways he can manipulate the latest move to his own advantage.”

“As a solo character, Kim’s Richard is superb, but when paired with Guy Faith as the Duke of Buckingham, the two make a real force to be reckoned with. I loved their relationship as they plotted and schemed their way to the crown.”

“this is a really strong cast with no weak performances at all”

“The direction by Lawrence Carmichael is masterly. The play is dynamic and dangerous, creative and powerful. Carmichael’s previous experience in movement and fight director roles is plain to see and gives the production originality, energy and life.”

“The battle scenes are beyond incredible. Involving the entire cast, the fights are heart-thumping adrenaline-rushes, climactic brawls worthy of HBO or Hollywood.”

“The design elements are exceptional and included remarkable puppetry and memorably gruesome props. The spine-tingling sound design created by the multi-talented Kim Hardy, who also plays the production’s titular character.”

“The playfulness and comedy of this production are beautiful to watch and brings a level of joy and engagement to the show that lightens and enlivens the play fantastically. It’s very much an ensemble piece, the cast working together flawlessly in telling the story.”

“It’s a talented cast well worth watching. All the royal women; played by Julia Papp (Lady Anne), Anglea Harvey (Queen Margaret), Helen Rose Hampton (Queen Elizabeth), and Fiona Tong (Duchess of York) are powerful, regal and emotive, holding their own and playing off each other to great effect.”

“Matt Hastings is superb and likable, and very well cast as Hastings.”

“Guy Faith (Buckingham) too gives a charming, charismatic performance, and the on-stage relationship between him and Hardy’s Richard was often electric.”

“I’d recommend the show to Shakespeare fans, and anyone who finds themselves missing Game of Thrones. This show might just ease both cravings.”

“The opening scene is an unforgettable three-dimensional artwork.”

“Australian director Lawrence Carmichael fills Shakespeare’s words with fresh meaning, offering a breath-taking drama and an unexpectedly amusing moment.”

“Lawrence Carmichael, who demonstrates a clear and elaborate vision of what could be considered Shakespeare’s most blood-drenched tragedy. His confidence and inspired understanding of the work allows him not only to breathe new life into several familiar scenes but also to draw out some of their unexpected comedic potential.”

“Having seen another commercial production of the same play not long ago, I was pleasantly surprised to find myself and the rest of the audience so visibly amused by the nuanced irony with which Carmichael interpreted the script, which was unseen in my previous experience.”

“Kim Hardy offered a sublime portrayal of the title role. Consistent throughout his challenging performance – both on his physical bearing and character development – his presence on stage felt truly menacing and genuinely disturbing.”

“Front Foot Theatre’s production of Richard III currently running the Cockpit Theatre is first class. It is a thrilling dynamic and dramatic presentation of this great Shakespearean play.”

“The acting accolade for the evening must go to Kim Hardy in the title role. He was the epitome of “that bottled spider that foul bunch-bac’d toad” described by Shakespeare in the text.”

“Some of the most dramatic and impressive scenes were the battles with the large cast engaged in energetic violent conflict with the real steel of real swords clashing against shields: the fight director Lawrence Carmichael, and armorers James Unsworth and Rowan Winter clearly knew their stuff.”

“The pace never faltered as the action moved on from scene to scene flawlessly.”

“Director Lawrence Carmichael is a movement specialist and fight director, and boy does it show in this production, from the moment the cast clash swords in the initial battle to the final battle and Shakespeare’s brown-nosing final speech by Henry Tudor, the momentum of the piece never lets up.”

“The only sources of a kind of stillness are the older female characters Queen Margaret (Angela Harvey) and the Duchess of York (Fiona Tong) whose powerful speeches are delivered with a prowling menace and inner fury in stunning performances”

“Most of the cast play multiple roles, but minor costume tweaks make it clear who is who, and Carmichael’s fluid direction creates the illusion of a much larger company.”

“Overall, the creative team and the actors deserve much praise for Rabbit Hole, bringing an extremely difficult topic to centre stage and portraying it in an impactful manner.”

“For anyone in search of a story that will leave you thinking for days, Rabbit Hole should not be missed.”

“Kim Hardy’s portrayal of a father in grief in particular is tear-jerking.”

“While the entire cast is to be applauded, Kim Hardy’s performance stands out without a doubt.”

“Ethan Cheek’s set design is cleverly crafted.”

“excellently raw performances from the cast who breathe life into the characters with great naturalness”

“the sharpness of the humour that is brought out through the production makes it instantly compelling to watch”

“A sensitive and raw play”

“Ryan Day’s lighting really enhancing the emotion”

“the contrast between the way in which Becca and Howie deal with their emotions surrounding death is fascinating to watch”

“a smart piece of theatre that handles the topic at the centre with great sensitivity”

“you really do get a sense of the character’s inner turmoil that is heartbreaking to watch”

“It is all these little moments that are filled with detail that makes the whole story feel particularly well grounded.”

“The performances from all of the cast come across as natural and emotionally raw throughout that it is hard to take your eyes off any of them.”

“Julia Papp as Becca beautifully highlights the contradictions and struggle her character feels.”

“Ty Glaser’s spirited performance as Izzy whose directness is a refreshing contrast to the other characters dancing around each other’s emotions”

“Emma Vansittart’s Nat is a calming presence even if her character has a tendency to put her foot in it.”

“Rabbit Hole is a solid production to watch.”

“sensitively brought to life in this raw and consistently engaging production”

“Pemberton gives a delicate and earnest performance”

“Papp and Hardy capture the plight of the couple’s devastated life”

“Vansittar brings the humour of a well-meaning yet interfering mother, full of ramblings and forgetfulness yet also the understanding and sadness rooted in her own experience”

“cracking revival of a Pulitzer Prize-winning American drama”

“David Lindsay-Abaire’s robust yet delicate piece is a compelling tragicomedy”

“it has biting humour, wisdom, and, over and above everything else, a love of flawed humanity that elevates a witty, clear-eyed script into something with real resonance”

“Lawrence Carmichael’s intelligent, emotionally astute new production feels vivid and urgent.”

“Emma Vansittart exquisitely suggests the conflict between maternal affection and garrulous resentment”

“Julia Papp and Kim Hardy are utterly riveting as a broken couple who still love each other but are in utter turmoil”

“there’s sensitive work from Max Pemberton as the kid who unwittingly engineered their tragedy and is desperate to make some sort of reparation”

“Ty Glaser’s wild card sister Izzy is funny, unsettling and just flat-out terrific.”

“A genuinely satisfying night in the theatre. Recommended.”

“Kim Hardy and Julia Papp as Howie and Becca deliver subtly devastating work”

“excellent work from both Emma Vansittart and Ty Glaser respectively”

“Tenderly truthful”

“An exploration of love, bereavement, grief and healing is given meaningful treatment at the Union Theatre”

“Front Foot Theatre have created a tense, moving, poignant and ultimately hopeful production of a play that tackles tough issues head on yet never loses sight of the lightness and humour.”

“a brilliant emotional portrayal by Kim Hardy”

“So much simmers just beneath the surface in Hardy’s sharp performance as he struggles with his conflict and the audience is so close to the action we can see the pain and sense of loss behind his eyes.”

“the script contains many instances of wit and levity to provide welcome balance”

“Glaser is excellent as Izzy”

“Vansittart is a commanding presence as Nat, voicing some very funny one-liners”

“Vansittart delivers a performance of which Christine Baranski would be proud, sophisticated and worldly wise but dripping with icy sarcasm and waspish innocence.”

“It’s a production that remains passionately real without straying into overly-sentimental.”

“Carmichael’s approach shows intelligence and deep understanding of the subject matter and the best way to portray tough and uncomfortable themes.”

“Ryan Day’s lighting is again a triumph of atmospheric subtlety”

“Front Foot Theatre are to be commended for this revival of a compelling tear-jerker which demands to be seen in such a small venue, containing performances that regularly break through the fourth wall with riveting emotion.”

“Front Foot Theatre gives the play a first-rate production”

“Ty Glaser does an outstanding job as the impulsive, somewhat ditzy sister, Izzy”

“Emma Vansittart is spot on as the sympathetic, sometimes self-absorbed mother, Nat.”

“Max Pemberton rings completely true in the role of the awkward, well-intentioned teenager, Jason.”

“Julia Papp and Kim Hardy have the most difficult challenge, but they both create identifiable characters whose emotional reality is palpable.”

“Prepare for a night in the theatre that will linger in your memory.”

“Rabbit Hole is a fine play, beautifully performed.”

Audience Feedback


“Can’t recommend this enough, thoroughly absorbing and superbly acted.” – John Kelley

“I never have seen anything quite like it. Although I confess that it was my first time seeing ‘The Seagull’ I can’t help but think that they made the long speeches much more believable and a joy to watch. You have to remember that Chekhov wrote this a long time ago and my generation is very much about the visual, having been given iPhones and sitting in front of t.v. What this play does is engages you visually and keeps you hooked by the acting which was a juggernaut, making me wonder if they had assembled the best actors they could find or if all of their productions were like this. I honestly thought it was magnificent and I’m looking forward to anything else they do.” – Chris Malle

” I was totally drawn into the story – the actors were brilliant to watch and to listen to. I also thought the costumes were well done, subtle and classically perfect for this piece. I would recommend anyone wanting to see actors of this calibre to go see this before it draws to a close.”  – Cat

“I would highly recommend this beautifully done play – a mind-blowing performance of this Chekhov’s masterpiece. The atmosphere was absorbing, the emotions, embedded in the speech of the actors, were real and inspiring! A must-see play!”  – Dilyana

“I saw this play on Tuesday and I thought it was brilliant. It is refreshing to see acting that is actually believable, and a joy and a relief to not be forced to watch the normal fake performances and big booming I can project voices that seem to get all the great reviews.This is a stunning production and I thought the acting was brilliant! As far as The Meisner aspect of this production, I use this technique myself and that was why I was excited to go and watch it. I was not disappointed! Anyone who is interested in this technique should go and see this show. This is a real chance to see some wonderful performances from a group of exciting actors.”  – Caroline Farrington

“A beautifully intimate production of a great play, filled with wonderful performances.” – Megan Hockley

“This beautiful play is brought to life again and thank goodness it’s in the hands of this company. They certainly know what they’re doing!” – Mary-Ann Cafferkey

“If you want to learn something about acting and want to know about the potential of Meisner technique of acting to produce a spine-tingling experience for the audience, go see this.” – Anita Roddis

“Stunning performances, detailed, beautiful and compelling.” – Alex Vendittelli

“Chekhov with real people in it, a must-see.” – Geraldine Brennan

“I would recommend seeing this delightful play. All actors’ performances were touching and beautiful.” – Monica Del Vecchio

“Strong performances from the cast, great set and the atmosphere evoked is highly immersive in the intimate venue.” – Toby Osmond


“Absolutely blown away by Proof this evening. What a beautiful play, the actors were just incredible and had me laughing and crying!” – Hannah Rose Vincent

“I have just been witness to this brilliant show. Wow!!!! Beautifully told, directed and acted. I’ve laughed, cried and been moved by this piece of storytelling. It’s just simply…….. Brilliant. “ – Mari Cameron

“What an absolutely beautiful piece of ‪‎theatre‬! Moving, funny, human”  – Ty Glaser

“Absolutely blown away by ‪Proof‬”  – Victoria Cartwright

“Mark of an excellent production…when you wake up thinking about the show you saw the night before…go see it!”  – Victoria Cartwright

“I absolutely loved it. Not a story I was familiar with, but I found myself moved and captured from the first scene onwards.”  – Matthew Wade

“Saw a fantastic show last night. Mental illness, genius, love, maths and family. Beautiful”  – Claire Fordy

“Phenomenal performances at Proof tonight. Thank you for sharing it with us!”  – Anna Christian

“Absolutely spellbound by Proof”  – Leanne

“Another top performance. Thought-provoking, strong script and brilliantly performed”  – Nick Green

“What a beautifully written, acted and directed piece of theatre. Just brilliant! Go see everyone, it’s more than worth it”  – Ty Glaser

“Thoroughly thoroughly enjoyed Front Foot Theatre’s production of Proof, been twice & plan to see it again at the end of the run.”  – Stephen Morgan

“Amazing play and actors, good times”  – Nora Papp

“The play was incredible, highly recommended!”  – Marianna Limnaiou

“So touched & transported by Proof.”  – Geraldine Brennan

“Proof raises the bar for fringe theatre – totally convincing cast performing an intriguing play.”  – Kevin Taggerty

“Seen something VERY special this evening. Emotive & insightful, PROOF is everything I love about Fringe.”  – Kevin Taggerty

“Absolutely brilliant: passionate, sensitive, funny, touching – why isn’t all theatre like this? Thank you!”  – Lizzie Conrad Hughes

“A thoroughly polished and absorbing production!”

“Truly amazing and inspirational work.”  – Laura Maria Nicosia

“A vibrant, intense and beautifully done play.”  – Denisa Herelove

“So, so enjoyed the performance last night. Beautiful moment to moment work. A properly great night at the theatre!”  – Nick Danan

“This was one of the best pieces I have seen in a long time. It’s just breathtakingly beautiful. I laughed, cried and was so extremely moved. Fabulous.”  –  Mari Cameron

“Brilliant play. Great performances. One of the few plays I wanted to see again and will go watch again for sure.”  – Al Zadeh

“Wonderfully funny & poignantly sad, a roller coaster journey”  – Michael Luke Walsh

“A wonderful play sensitively directed by Sebastien Blanc…Don’t miss it”  – John Stickland BBC director ( Mr Selfridge, The Three Musketeers, The Bill)

“Front Foot Theatre have achieved something rather special with their production of “Proof” in West London’s Tabard Theatre. The play, written with meticulous care and craft by award-winning David Auburn, is richly served by a masterclass in performing.To see all four actors inhabit and portray the levels of complexity is a real treat. They fall under the audience microscope, living cells wriggling, struggling, converging and separating as they simply try to find the answers to the wrong questions. Each actor commits wholeheartedly to their task effortlessly (they trick us, obviously as so much effort is behind this production). Directed seamlessly with a pace that implicates the audience into becoming voyeurs “Proof” proves itself as a play and as a production. Congratulations to everyone, the whole team, on this remarkable work.” Mike Elliston

“I can’t put it any better than this. If you are in London, don’t miss Proof at the Tabard Theatre. Captivating, moving and also funny with touching performances”  – Monica Del Vecchio

“Truly astounding. The best performances I’ve seen this year, hands down. Probably last year too!! I loved it so much and it exceeded my already very high expectations.”  – John Kelley

“What an amazing story and even more amazing talents!!! Very inspiring, emotional and also a funny play! Definitely recommend it!”  – Reka Vecsernyes

“An amazing piece of theatre.”  – Angela Smith

“An immersive pleasure, touching, beautiful.”  – Julia Crook

“Thought-provoking, endearing characters and fab venue!”  – Laurie Scarlett

“Wow, just wow. A thoroughly inspiring evening of theatre.”  – John Jesper

“Deserves all the five stars it’s getting!”  – Natasha Chandra

“If the Proof is in the pudding, then this show is an immaculate pavlova. Stunning writing & engaging performances.”  – Dominic Kelly

“Such a beautiful and inspiring production. I can not recommend seeing it enough!”  – Anna Hawkes

“The reviews have been spot on! Proof was thoroughly watchable, really moving, and all four characters were wonderfully detailed.‬”  – Liza Marie

“Amazing play with an exceptionally strong cast!”  – Paul-D Stephenson

“It was long since I cried seeing a show as today.”  – Montse Carrasco

“The whole cast was breathtaking and it was such a treat to finally see this amazing play on its feet *** she adds play to Amazon wish list..”  – Soraya Ilona Spears

“Well done Sebastien Louis Blanc for a wonderful production of Proof. Super performances from the cast who deserve much praise. Thoroughly enjoyed it.”  – Debbie Christie

“Your performances were truly inspiring and in some way reminded me of why theatre can be great. Thank you.”  – Jonathan Ow

“What an amazing show. Great cast, great acting, great setting.”  – George Eyo

“Beautiful. Touching, moving, great show and performance from everyone.”  – Anita Karklina

“So glad I was able to catch this show. Wonderful performances from the whole cast – passionate and yet delicate..a beautifully told story!”  – Agnieszka Kennedy