Press | Becs Andrews

Faster / Dance Europe

‘Different physical disciplines are allusively coded in Becs Andrews’ form-flattering costumes: metallic hues of silver and gold, white, grey and black; and later magenta, purple, and lime green. She avoids literalism in dressing the dancers but conveys the provenance of . . .

Faster / Theatre in Wales

“Bintley works in collaboration with Australian composer Mathew Hudson (his second commission with Bintley) and with designers Peter Mumford and Becs Andrews to create an overall ambiance. With the help of Andrews’ costume designs, which colourfully suggest the different sports . . .

Repetition of Change / Cuckoo Review

“Artistic director Sharon Watson describes Repetition of Change as ‘one of the company’s most ambitious works to date’. Her choreography uses the entire company in a response to a commissioned piece of music. The visual elements of this piece were very striking . . .

Repetition of Change / Dance Tabs

“In a striking image, a length of gauze flows across the stage – the river of life perhaps. It soon billows aloft, speckled with globular lighting effects. Scurrying below, the dancers seem to represent some kind of pond life.” Paul Arrowsmith . . .

Repetition of Change / Cloud Dance

“This is an ambitious and brave piece exploring the intricate world of DNA. Watson has replicated and used double helix within the piece because it is multi-layered. The opening of this piece is visually stunning and the movement has a . . .

Repetition of Change / Bachtrack

“The music, like the dance, had an oddly sci-fi quality about it, only the electronic sound of the theremin was missing. The choreography had a similar tone, with the dancers dressed in short black circular tunics, and a splash of . . .

All Alight / Dance Europe

“The bare stage and period-like costumes of Becs Andrews (frocks in light, earthy colours for the women and high-waisted trousers and shirts for the men) all had a very dances at a Gathering gone Mediterranean feeling, with the main difference . . .

Repetition of Change / Dance Europe

“Not since I was a boy and saw the black light theatre in Prague have I been so visually impressed as with this piece. The set – consisting of a huge white cloth that was reconfigured to specular effect – . . .

Sivaloka / Donald Hutera

“Its an auspicious debut. Clad in the stylishly understated, pyjama-like costumes of Becs Andrews, Boonham’s contrasting double bill demonstrates how capably she applies an contemporary kinetic intelligence to her background in bharatanayam” Donald Hutera Read review in full

Momo / Der Bund

“The stage design of Becs Andrews (also costumes and lighting) convinces… A sense of unrest grips the city. Looming above are glistening cogwheels, and streams of digital numbers piercing the black sky like skyscrapers. The grey men, like smoke stacks, . . .

Momo / SFD

“The ballet Momo at the Stadttheater Bern guarantees an entertaining evening for all ages. Michael Ende’s world-famous tale is realized by a great stage designer, a harmonious musical background, and a conventional dance choreography. “The various stage designs and props . . .

The Hotel / The Scotsman

“Each of the many rooms is home to its own set piece or installation. For example, the kitchen hosts a silent comedy routine from a pair of squalid and violent chefs, the IT room allows an opportunity to browse the . . .

The Hotel / Fringe Review

“The space itself has clearly been mapped out very well and the attention to detail from set designer Becs Andrews is second to none down to the pictures on the walls listing who is yet to stay in the hotel, ie Helen Mirren, Keira Knightley . . .

The Hotel / The Guardian

“The production is directed by comedian Mark Watson, and it’s all very Fawlty Towers, only with a sharper, absurdist edge. The staircase is decorated with photos of celebrities – JFK, Sean Connery – who haven’t been guests at the hotel; . . .

The Hotel / The List

“If Punchdrunk, the fashionable London site-specific theatre company, gave the job of artistic director to Arthur Smith, the comedic genius behind the Fringe’s Arturart exhibitions, the results would look a lot like The Hotel. Throw in a touch of Fawlty . . .