Press
Selected reviews across opera and theatre
Full Moon in March (Royal Opera House — Linbury Theatre, 2024)
★★★★ [The Guardian — Fiona Maddocks]
★★★★ [The Stage — George Hall]
★★★★ [The Times — Richard Morrison]
“Never underestimate the skill needed to frame the irregular, to make elegant that which is incomprehensible while keeping anarchy intact…” [The Guardian — Fiona Maddocks]
“Its narrative receives apt treatment in Harriet Taylor’s staging as it moves back and forth between the comic and the disturbing…” [The Stage — George Hall]
“Such is the light touch, mischievous energy and sheer visual inventiveness… the atmosphere is one of absurdist mania rather than heavy moralising.” [The Times — Richard Morrison]
“I can think of several operas that would benefit from the inclusion of a boxer. Let it become a trend.” [The Guardian — Fiona Maddocks]
Le nozze di Figaro (Royal College of Music — Britten Theatre, 2025)
★★★★ [The Observer — Stephen Pritchard]
“Directed with wit and charm.” [The Observer — Stephen Pritchard]
The Turn of the Screw (Opera UCT — Baxter Theatre, Cape Town, 2024)
“Skilled direction… imaginative staging.” [WeekendSpecial]
“Intriguing, dark and disturbing production.” [The Cape Robyn]
“A haunting night…” [A Haunting Night at the Baxter Theatre]
GRIP (Nothing to Perform — Tristan Bates Theatre, 2019)
★★★★ [Theatre Weekly — Greg Stewart]
“Director, Harriet Taylor, has created a slick production which seems to throb with tension.” [Theatre Weekly — Greg Stewart]
“An ensemble-led production which makes ferociously good use of movement and lighting.” [Ought To Be Clowns — Ian Foster]
Jette Parker Artists Summer Performance (Royal Opera House, 2024)
“This scene was directed by Harriet Taylor with a solid hand.” [Seen and Heard International]
Jette Parker Artists Summer Performance (Royal Opera House, 2023)
“An exuberant end of season performance… hit the bullseye.” [MusicOMH]
Skeletons (showcase) (Cockpit Theatre — Camden Fringe, 2019)
“Thanks to the taut guidance of director Harriet Taylor, its numerous plotlines were surprisingly easy to follow.” [LondonTheatre1 — Loretta Monaco]
dominion (RADA Festival — Gielgud Theatre, 2018)
★★★★★ [Jack The Lad Magazine — Simon Webb]
“Harriet Taylor’s fantastic direction… is intelligent and uniquely handled.” [Jack The Lad Magazine — Simon Webb]
“Never anything less than absolutely compelling viewing.” [Jack The Lad Magazine — Simon Webb]
Meiwes/Brandes (Tristan Bates Theatre, 2018)
★★★★ [London Theatre Reviews — Luca Molinari]
“A strange, dark, tense, captivating and unsettling show… well worth seeing.” [London Theatre Reviews — Luca Molinari]
“The balance of disturbing the audience without showing the atrocious act was very well crafted.” [The Live Review — Susy Brett]
Nothing to Perform (Cockpit Theatre — Camden Fringe, 2017)
★★★★★ [The Open Door — Alice Flynn]
“Harriet Taylor’s direction… innovative and brave.” [The Open Door — Alice Flynn]
“A rare insight… with moments of startling honesty, reluctant hilarity and bursts of the unexpected.” [The Open Door — Alice Flynn]