1. Charlie Morrissey

        • "“Charlie Morrissey is alone on the stage of the Schwere Reiter. And not. There are the balls that he throws out of an orange bucket and between which he places his rowing limbs as gently as if they were living beings. And there are his claims: behind four red doors, iconic cities are seething. And Kate, Jenny or "Nina, the sprinter" would storm the stage with 18 children. While Morrissey tells us about it, he lies flat on the ground. And the audience is beginning to forge ahead with his descriptions of the imagination, and to sneak into something that dance and performance always demand. But the British dancer and choreographer wanders so casually through the space of possibilities, furnished with his memories of broken noses and missed moments, and weaving the audacity of presumption and the weight of melancholy almost imperceptibly together in "What's Not There". He triggers on this clever and funny evening, the memory and imagination of his spectators.”"
          Süddeutsche Zeitun, Munich
        • "The Way it Works is This… could have been the beginning of Eddie Nixon’s opening discourse, but Orlando Gough uses it as a starting point to frame a series of isolated phrases in a soundscape for Charlie Morrissey’s consummate dance of the same name. Brilliant. Siobahn Davies commissioned this, and chose the projected images from the work of Étienne-Jules Maray representing some of the earliest attempts to record movement photographically (I’m reading from the notes). Morissey’s thoughtful work, like Gough’s soundscape, is a lot of fun and its roots go way back to the minimalist contemporary dance of New York’s Judson Dance Theatre."
          Ian Abbot - writing about dance
        • "“In On Off, Charlie Morrissey is celebrating his contact to the materials that surround him: a cardboard box and an electric bulb, which appears to be a wonderful laterna magica. At lightning speed blackouts are throwing highlights on the abruptly, seemingly improvised status quo of the performer – a funny, clever metaphor for the human existence, and for that a perfectly smart finish of the festival.”"
          Eva-Elisabeth Fischer, Süddeutsche Zeitung, Munich
        • "“Dancing is at its roots about showing the spectator things by focusing their gaze on the body’s ‘to-be-looked-at-ness’. What is ‘to-be-looked-at’ in Charlie’s dancing is so subtle. It’s what’s going on inside as he turns his focus into himself. Looking hard I can just catch tiny shifts in his focus and attention, tinier than one would have believed yet clearly, transparently there before my eyes. There is something deeply resonant about seeing someone moving simply and thoughtfully with such economy and making such seemingly ordinary actions look so profound.”"
          Ramsay Burt
        • "a truly mesmeric performer"
          The Stage
        • "the performance explores individual struggles with nature and plays with elemental human fears and desires to create a compelling and visually stunning work. The glass building provided a grand firmament with which to bombard us with earth, water, fire and air. It was a stunning sensual rollercoaster. What a fabulous group of wildly talented people"
          Virtual Brighton Magazine
        • "a brilliant opening to Small Wonder's (The company Morrissey founded and directed with Paul Harrington)) site-specific performance in which the battle between man and nature, and man and his own nature, is played out with some help from pyrotechnic experts the World Famous, who make it snow fire and shudder stars. The wild and the tame, the civilised and the untrammelled do war as the elements rage. Adam and Eve taste the apple and the Garden of Eden is casually despoiled. Towards the end it feels as if the whole world is ablaze. This is, as promised, a remarkable "adventure for the senses""
          Lynn Gardner, The Guardian on The Palm House
        • "this is the mesmeric power of Small Wonder’s site specific show, which creates a world where rain falls indoors, white fire snows down outside and humans grow from the earth like saplings… powerful images which burn into the retina… a fantastic melding of light, music, pyrotechnics and human flexibility"
          Kate Morrisson. Brighton Argus
        • "a joy to watch – both in terms of conception and execution… every move was a celebration of physicality and rigour"
          The Scotsman on A Tacit Assembly co-directed with Becky Edmunds for Guangdong Modern Dance Company (China)
        • "…brave and articulate… It was gripping… fast and funny… spectacular… a curiously cleansing experience."
          The Independent on The Smallest Room co-directed with Becky Edmunds
        • "It was genuinely joyful…gloriously imperfect… I left bowled over"
          The Guardian on The Smallest Room co-directed with Becky Edmunds
        • "…hypnotic...gleeful...sublime...some truly electric moments and life throws up precious few – grab them while you can.”"
          The Guardian on Absolute Zero directed by Charlie Morrissey