Made in Dagenham

“A terrific supporting contribution from Loren O’Dair” – Mark Shenton, The Stage

Bloom

“superbly convincing, engaging and passionate” – Andy Martin, Bournemouth Echo

“versatile Loren O’Dair floats between instruments effortlessly” – Mike Martin, The Stage

“an exceptionally intelligent, sensitive and affecting portrayal of a complex character” – Sean Aita

Dick Turpin’s Last Ride

“Loren O’Dair takes on all the women and, with extraordinary dancer’s grace and evocation, the equally central role of Black Bess. Her leap over the Hornsey Turnpike and long gallop to York are genuinely thrilling” – Libby Purves, The Times

“Loren O’Dair is particularly impressive in the roles of the women Turpin used and abused unfeelingly and the horse he used and abused lovingly” – Gary Naylor, Broadway World

“Loren O’Dair was exceptionally good as Black Bess” – Angie Johnson, Oxford Times

“As Black Bess Loren O’Dair gave a spirited interpretation of the speaking brave mare with some impressive movement work. The death of the horse was most moving. O’Dair also played all of the female parts from Turpin’s wife to a barmaid and the daughter to Sir Percival, each one perfectly formed” – Robin Strapp, British Theatre Guide

“if you are going to appear on a stage with the stunningly beautiful Loren O’Dair, who plays her fiddle, dances, sings, is an acrobat and portrays a mythical horse, then you have to accept that she’s going to run away with the show” – The Raft Journal

“an almost literally indefatigable performance of great physical skill from Loren O’Dair” – Mark Courtice, Reviews Gate

“a marvellous performance which creates the illusion of a horse while never tipping over into anthropomorphism” – Anne Morley-Priestman, Whatsonstage

“Loren O’Dair is the mare Black Bess with nothing more extravagant than a black cloak. She suggests prancing rather than emphasises it and the effect is utterly thrilling. She leaps an imagined spike-topped turnpike gate with a simple yet stunning movement” Kevin Berry, The Stage

“Black Bess [is] brought vividly to life with a sense of equine grace by Loren O’Dair” – Glen Pearce, Bury Free Press

“specific mention to Loren O’Dair… she’s fabulous in the way she combines mime and movement… she’s brilliant… very subtly done” Mandy Morton, BBC Radio Cambridgeshire

“The star of the show was Loren O’Dair” – Charlie Hay, Next Dramatic Step

Sexing The Cherry

“Loren O’Dair as all twelve dancing princesses was breathtaking. Playing twelve distinct characters is no small challenge for any actor; I’ve certainly never seen one do it hanging by her ankles. O’Dair spent much of the play performing jaw dropping gymnastic stunts on a sling hung from the ceiling” – Mad Rags

Hamlet

“Loren O’Dair’s luminous, effortless Ophelia was a delight” – Lucia Cox, Whatsonstage

“Loren O’Dair stands out from the rest with a touching, vulnerable portrait of the spurned Ophelia, rendering her emotions in delicate shades and doing a great deal with the short time she is on stage” – Catherine Love, The Public Reviews

“Loren O’Dair’s Ophelia in the grips of gradual psychological breakdown is both subtle and moving” – Jeremy Miles, Bournemouth Echo

“Loren absolutely shines as Ophelia – she is interesting and sparky but above all a wonderfully compelling performer, and with her Lecoq training so physically expressive” – Poppy Burton-Morgan, Metta Theatre

“Loren O’Dair’s subtly unravelling Ophelia” – Marissa Burgess, City Life

“Loren O’Dair was similarly convincing as Ophelia, continually engaging when on stage despite having comparatively few lines” – Gillian Carter, The Tribe

“a particularly strong performance by Loren O’Dair as Ophelia” – Matt Jarram, Loughborough Echo

“hats off to actor Loren O’Dair” – George Fleeton, Down News

“Loren O’Dair’s Ophelia is indeed fair, so fair and slinky that she seems to have slipped in from a Jean Harlow movie… she makes her mark on her role” – Charles Hutchinson, The York Press

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