PINOCCHIO

“The puppetry is ingenious. The fable of the puppet who wants to be human has been delightfully reanimated.”
THE GUARDIAN

“Brilliantly, Geppetto the puppetmaker is himself a gigantic puppet. Meanwhile, his creation, Pinocchio, slowly unbends from the wooden block in which he is carved, not as a mannequin but a human. Flesh and fabric, original and imitation are beautifully, disconcertingly entangled.”
THE OBSERVER

“I love the idea that Jiminy Cricket is female and that she’s a worrier about hygiene. A diminutive green puppet adorably worked and voiced by Audrey Brisson, the gangly insect bounds around in protective pursuit of our hero, fretting about the bacterial challenges posed by the places he winds up in.“
THE INDEPENDENT

“The puppets are fantastical affairs, their huge balloon-like heads controlled by actors plus a team of puppeteers. The most adored puppet, and I speak for the youngsters in the audience too, was the smallest. Jiminy Cricket is a green worry-wort with an obsessive fear of bacterial infection. She is an absolute hoot.”
THE TIMES

“The adult human characters, including Pinocchio’s kindly puppetmaker-father Geppetto, are represented on stage by gargantuan constructs that loom over the little hero. Although they’re voiced by the human actors who stand at the centre of the puppet teams, it’s not the living faces we’re drawn to, it’s the artificial ones: sad, ancient Geppetto; satanic Stromboli; the brutish Coachman. They are huge and otherworldly, an uncanny Valley of the Kings.”
TIME OUT