Reviews

ACTING

“Another highlight was the performance of Madelaine Nunn as Mercutio and Friar Joan. In particular, Nunn’s bold, outlandish portrayal of Mercutio contrasted greatly against her diminutive size and hearty appreciation and much guffawing from the audience. The Bard would have praised her for playing to the pit with aplomb!” (The Adelaide Show)

"Madelaine is utterly irresistible, injecting the character with spirit, curiosity, playfulness and fear.” (Artshub)

"Madelaine Nunn grabbed our attention from the beginning and her precision retained it throughout. I was reminded of the young British character actor Joyce Grenfell, known for her portrayals of naïve earnestness. I was struck by Nunn’s capacity to embody whatever she does." (TAGG)

“Madeline Nunn’s vulnerability and verbal dexterity make her the heart of the piece; she is frequently caught in the middle of dividing worldviews and you can practically see her mind whirring behind her deeply expressive eyes.” (Theatre People)

“…Astonishingly bright young actresses (highly approachable and talented Madelaine Nunn…“ (Be Melbourne)

“Brilliant theatre performed with a ferocious intensity.” (Ian Pidd Melb fringe)

“Daisy (played with a touchingly wide-eyed innocence by Madelaine Nunn)” (Letterboxd)

“Acting with such synergy and craft” (SMH)

“Nunn is more than equal to the task of achieving the vision… commanding orator with exceptional tone and clarity” (Theatre People)

“The cast shines in the present-day scenes, bringing great depth and authenticity to their roles.” (Theatre Travels)

“Isn’t afraid to take risks… in quirky, well-judged comedy.” (The music)

“Reminds us why theatre is so damn exciting—and so damn good.” (Aussie Theatre)

“Is sharp as a razor, very witty, very funny and beautifully directed with much visual humour. Madelaine Nunn– is a natural comedienne.” (Stage Whispers)

"Madelaine Nunn as Hamlet is piercing and amusing as she expresses love for Ophelia in violent bouts without ever bothering to hear her response." (Theatre Press)

"A magnificent ensemble of such fine performers and writers who delve in to the classics to gather their flowering words to engage us with beautiful lyrical and poignant allegories, metaphors and allusions." (Stage Whispers)

"The ensemble are all strong performers, and do not miss a beat in this hectic production" (Weekend Notes)

"Madelaine Nunn as Marion Crane was particularly enjoyable, although all three actresses and creators of the project – were great" (Melbourne Arts Club)

WRITING

“There is an authenticity to Nunn’s dialogue that sounds totally overheard. She has an unerring instinct for the rhythm and ramble of teen lingo.” (The Age)

“Cactus is a brilliantly written work...Nunn is a consummate storyteller.” (Australian Arts Review)

“Whip smart – at times hilarious and risqué – dialogue.” (The Blurb)

“Nunn’s writing style is incisive and hard-hitting.” (Stage Whispers)

“A vivid and touching and effortlessly funny portrayal that puts the intimate textures of female companionship centre stage.” (The Age)

“Cactus is an opportunity to see a great combination of both writing and performing talent that are clearly working in complete harmony.” (Stage Whispers)

“(Cactus) is a beautiful show with the right mix of comedy to bring the audience through the tragedy.” (Weekend Notes)

“Cactus is warm, funny, heartbreaking and captivating from start to finish. It will have you laughing hysterically one minute and crying the next.” (Theatre Travels)

"There’s no fat on Miles, Nunn and Rodway’s script, it's luxurious with its slightly old-fashioned, formal language, scattered with snippets of Shakespeare." (Arts Hub)

"This production preserves Shakespeare’s heightened language, while inserted lude jokes and new instances of metatheatre prove the originality of these writers. " (Theatre Press)

“Every piece vibrates with the complexity of modern life and is scrupulously edited for verisimilitude and authenticity.”
(Sydney Arts Guide)

"[LadyCake] is streamlined, unselfconscious, quietly clever and visually slick. It's a work that isn't afraid to take risks, and released from that cautious straight jacket, takes full advantage of the freedom to experiment." (The Music)

“This collection of ten short plays by young Australians may be named Chrysalis, but not only does it feature talent brimming with awesome potential, it showcases some surprisingly mature work that is already soaring with splendour. To witness such youthful triumph is indeed breathtaking.” (Suzie Goes See)

"There is huge potential for this innovative company to generate a strong reputation for itself and its unique brand of theatre." (Theatre Press)