REVIEWS

MAD KING SUIBHNE

  • Tremendously enjoyable and accomplished…what a delightful operatic experience.

– Rupert Christiansen‏ of The Telegraph

  • Insanely good…a magical tonic.

Farnham Herald

  • The direction was of a very high order. Ella Marchment clearly has an imagination the size of a planet, but the gravity to hold that in a sensible orbit.

Bury Court Opera Audience Feedback

  • Ella Marchment’s production helped by providing a richly imaginative but non-specific setting which allowed us to concentrate on Suibhne. Marchment and her designer, Holly Piggott, cleverly got over the problems of Suibhne’s ability to fly by making ladders a feature of the multi-level set, cleverly manipulated by the chorus. It is to Noah Mosley [composer and conductor] and Ella Marchment’s credit that the audience was held spellbound for 90 minutes and applauded enthusiastically afterwards.

Planet Hugill

  • In Ella Marchment’s extremely innovative production, good use is made of the barn setting.

musicOMH

MACBETH

  • The Bard with the music of Verdi, an interesting concept that gave us an amazing theatrical experience. Opera Integra have always been blessed with some great singers, but this production saw them really up their game on the theatrical front with some great production values that really worked to give the show impact. Truly a great piece of drama in its own right, and a truly visionary interpretation. Ella Marchment had a slightly different vision of the themes and really gave us food for thought. Using the strong chess theme was a masterstroke which was the foundation on which everything hung. The theme worked well not only for its impact but also to give us a different insight into a very familiar story.

National Operatic & Dramatic Association

Il TABARRO

  • An authentically satisfying performance.

Opera Magazine

  • This was a May Day performance of Puccini’s opera to match what one might hear in the most exalted of houses, with all the advantages of observing the action at close hand. In this concert staging, there were no sets, but there was keen, telling direction (Ella Marchment). Imaginative use was made of the space too, the chorus and certain other solos being heard from above and around, reinforcing the sense of being trapped, fatally so, upon a river barge.

– Mark Berry Boulezian

HATHAWAY—EIGHT ARIAS FOR A BARDIC LIFE

  • An outstanding and beautiful performance.

– Copenhagen Opera Festival

  • Hathaway is simply the most moving production I have ever seen.

– Copenhagen Opera Festival Audience Feedback

PRIVATE PEACEFUL

  • Ella Marchment ensured that there were a few well-thought-out touches.

Views From The Gods

  • Ella Marchment’s directing of this piece focuses on bringing out a simple story…discovering the multilayers of the story, as opposed to just focusing on one idea. The production…gives a freshness to somewhat stale writing.

toplondontheatre

AN EVENING WITH LUCIAN FREUD

  • The drama is given a deceptively brisk pace by the talented young director Ella Marchment.

The Telegraph

  • It’s a bold and engaging piece of portraiture, ingeniously directed by Ella Marchment.

LondonTheatre1.com

MARÍA DE BUENOS AIRES

  • María de Buenos Aires is an atmospherically charged performance with excellent singing and a wonderful live band. I was gripped throughout.

– Warren Edwardes

STAND AND DELIVER

  • It must be really difficult to put on a show like this…but director Ella Marchment has managed to navigate this successfully.

LondonTheatre1.com

ROBBIE’S DATE

  • Director Ella Marchment skilfully deals with the shift into seriousness and captures so many heartbreakingly bleak moments well.

Views From The Gods

ROCK TOSCA

  • Cavalier’s Rock Tosca is basically one of the best ideas anyone has ever had. Big, sweaty, loud and brilliant, rock’s ego-heavy aesthetic is ideal for Puccini’s personality-driven thriller. Ella Marchment’s direction makes the most of this, focusing us on individual characters in turn, keeping the crucial claustrophobic air of persecution in each scene while blasting us with big volume and bigger emotions.

Backtrack

SOLDIER’S TALE & RENARD

  • It is to the credit of the companies and director Ella Marchment that they took them on and did so much with them.

Bernard Hughes

  • In Ella Marchment, I see a director and artistic leader of imagination, assurance and style.

Bernard Hughes

FAÇADE & EIGHT SONGS FOR A MAD KING

  • The whole production is a vivid and forceful display of talent from the team under director Ella Marchment.

Everything Theatre

  • Maxwell Davies’s Eight Songs For A Mad King was frankly stunning.

Planet Hugill

  • This was music theatre which was vividly alive.

Planet Hugill

  • A highly imaginative and affecting double bill. Brilliantly located in a hospital for recovering World War One soldiers…faultless in delivery and dramatic emotion.

Opera Now

  • I cannot express enough my appreciation of that performance. It had me smiling all the way through by the magic of it and moved to tears by the performance throughout; how is that possible? Magic.

Ali Frias

THE BEAR GOES WALKABOUT TOUR

  • The artistic directors Oliver Zeffman and Ella Marchment are both in their early twenties, and the production was a remarkable achievement.

Fringe Opera

  • Events like The Bear Goes Walkabout are premonitions of the future of British classical music.

Broadway Baby

  • Helios Collective is something to be excited about: our music is in their hands.

Broadway Baby

  • Ella Marchment’s direction is subtle but accomplished and creative.

Broadway Baby