'A joy to watch’
THE IRISH INDEPENDENT
‘What Runacre-Temple does so excìtingly is marry some of the more visceral elements of modern dance with classical ballet, to the enrichment of both.’
THE SUNDAY TIMES
'An effortless blend of dance, direction, music and design'
GIVE MY LOVE TO THE SUNRISE
ENGLISH NATIONAL BALLET
"The choreographer’s significant experience shone through her clever construction of this brief narrative capsule, incorporating extracts from the film’s dialogue and distilling the essence of a complex plot into three short scenes played out by the Hayworth/ Welles characters: respectively, the femme fatal, Elsa Bannister (Tiffany Hedman) and the hero with “a shady past”, Michael O’Hara (Daniel Kraus). Bookended by the same image of Elsa’s death is a quick-fire tour of their chance meeting, burgeoning romance and a deadly betrayal. Rather than attempt to construct a linear narrative, Runacre-Temple expertly crafts her concept into a flavour of desire wrapped up in a palpable atmosphere of impending doom."
GREYHAM WATTS, LONDONDANCE.COM
'The movement is beautifully differentiated with her cool blond, hauteur slowly allowing more until they circle the room in a hot and edgy duet – not smutty but my goodness it smoulders.'
BRUCE MARRIOTT, DANCETABS
‘Morgann Runacre-Temple’s movement/choreography pisses over almost all other UK theatre movement that it’s not even funny’
Andrew Haydon POSTCARDS FROM THE GODS
'Masterfully interpreted by Philipp Quest, in this initially apocalyptic choreographic rapprochement (in which Morgann Runacre-Temple obviously supported him in grandiose terms), the creature successively slides over, into the upright and genuinely human, to make it short: The creature is transformed to man'
IRISH TIMES ****
'..Runacre-Temple crafts ensemble work well, and she utilises the small cast to big effect. ....her trademark moves – feet turned in to a parallel position, squiggling arm gestures, abrupt change of body positions – that reveal her tendency toward contemporary dance, but now she deftly incorporates more classical ballet.'
'Choreographer Morgann Runacre-Temple has produced a technically innovative production juxtapositioning classical ballet moves with jarring and often angular motions to communicate the aggression of the military and gypsy world of Carmen. The result is refreshing and powerful, as the ballet explores an atypical world to the classical form, with a chain-smoking, promiscuous temptress as the female protagonist.'
BRUCE MARRIOT DANCE TABS
'Carmen was one of the best productions I’ve seen on the Lilian Baylis stage..... (W)hat I particularly like is that it’s not done as a ballet for ballet’s sake, with all the girls forced into pointe shoes and well-worn classical ballet phrases popping out all over, but as a finely serviceable contemporary production with a fresh approach to music, steps and ultimately realism. Amen to that.'
ROMEO AND JULIET
‘Runacre-Temple taps into a zeitgeist so many other ballet companies desperately want to access right now, making relevant what is often seen as an elitist art form while still honouring its roots.......Runacre-Temple understands this image appeals to more than just little girls who want to grow up to be dancing princesses, or moneyed audiences who have done so. This sense of wanting to know the person behind the persona on stage is as common now as asking for a daughter’s hand in marriage was in Shakespeare’s time. Runacre- Temple gets it, and Ballet Ireland fortuitously has gotten a head start on discovering and nurturing her talent.’
THE IRISH TIMES
***** ‘I can’t remember seeing a better Ballet Ireland Production than this one choreographed by the consistently impressive Morgann Runacre-Temple’
Irish Mail, Romeo and Juliet 2017
**** ‘Romeo and Juliet has moments of genuine beauty, with dazzling displays of choreographic flow that border on genius’
Chris O’Rourke, The Arts Review 2017
Read full Irish Times review here:
THE IRISH TIMES
‘Runacre-Temple has constructed a clever and witty sequel that is full of snappy set-pieces, such as the frenetic auction scene where the Fairy Godmother saves the day by buying the glass slippers. In fact, there’s plenty of fizzle throughout, and Runacre-Temple favours relentless action until the final pas de deux . Ballet Ireland’s new policy of commissioning major works from other choreographers is well-rewarded in Cinderella, which will appeal to audiences used to the classics. It is Ballet Ireland’s strongest production to date.’
THE PRINT ROOM
DANCE TABS - Bruce Marriott
'Come the end of 2012, this is likely to be one of my highlights of the year. It’s not often I see a show and then book to see the same cast immediately again or pester others to go. The reason is that Jealousy works on so many different levels – site-specific work at a great site, interesting drama and the sheer enjoyment of the physicality involved.'