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2015

Set amongst the lush landscape of the Monte Cecilia grounds and embracing a range of different storytelling modes the performance is structured almost as if in a dream sequence where ghosts from the past move freely, intersecting with audiences, amidst a site that echoes with memories and unspoken stories.

Dione Joseph Close Encounters with PAH
The Big Idea

'The Pā Collective's concept for this production was nothing short of brilliant...'

Deborah Lahatte PAH: Reviving Ghosts
National Business Review

'thrumming with the energy of the past'

Frances Morton Auckland Arts Festival Review
Metro Magazine
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2013

'stunning, ethereal and a joy to be a part of'

Claire Battersby 1000 Lovers
TheatreView
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2011

Gin MacCallum and Niki Cousineau danced like two wavering voices that hushed us and left us craving to hear and see them.

Merilyn Jackson Two Dancers in Seed are a Spellbinding Pair
Philadelphia Enquirer
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2010

'tender, intimate and powerful...Carol Brown's Slip was remarkable, mixing private narratives with a penetrating analysis of vulnerability, identity and the strength of community.'

Francesca Horsley Touch Compass Triple Bill
DANZ August 2010
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2009

‘stunning…strange and thrilling’

Ann Williams on the changing room
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2007

‘What Hannah and Brown present in the moving images and moments of Aarero Stone,is a lamentation on a universal scale: one where we find perspective on our troubles by identifying with the suffering of ‘the other’’

Sam Trubridge 'Beyond the Veil'
Theatre Forum, Winter/Spring2007, Issue 30, pp3-10.

‘Carol Brown was spellbinding in Aarero Stone where she examined themes of lamentation and myth. In an austere pageant of dance poetry, Brown told stories of women: tragic, bold and clandestine.’

Francesca Horsley on aarero stone
The Listener, December 30-January 5 2007.
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2006

Sometimes the live movement is very slow and voluptuous, at other times it is fast and knotty, but always the dancers have a lucious, fluid and grounded quality; while they share a vulnerability in their movement, the presence of the technology is so unassuming, so sensitive to what the dancers are doing, that we could forget it is there at all.

The effect that is created through the combination of dance and digital imagery is highly emotive and even visceral at times. Thomsen's patterns resemble growing organisms, swarming insects, unfurling blossoms, rapidly spreading coral reefs.... Images from nature and the restless, timeless sea and the busy life it contains are conjured up, as well as developing embryos and multiplying cells.

Josephine Leask Deep Brown Sea Carol Brown Rides the Tech Wave
Flash Journal, , 11-3
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2004

‘The work which really stood out for me in Dance Umbrella for its boldness and imagination was "The Changing Room," … the three women performers are like pioneers on the verge of discovering a brave new world.’

Josephine Leask The Changing Room
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2003

'Her virtuosity is one that revels in the detail of execution... Subtle brilliance.'

Shelf Life
Dance Now
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2000

'Brown's meditative dance, isolated on her shelf, seemed an icon of contemplation, a little monto mori. It was the neatest justification of live art - life, simply, being turned into art.'
Judith Mackrell A Meditation on Glazing, St Pancras Church, London
The Guardian, Friday June 2 2000

‘Carol Brown defines for me what it means to be an innovative artist, once again she has collaborated with different complex and artistic groups to create astonishing work.’

Irene Ludwig on The Changing Room
Ludwig Forum
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1999

The audience who inhabit the installation are lulled and mesmerized, some sit or lie on the floor, some sleep caccooned from the outside world, guided towards the virtual world by this reassuring material body.

Josephine Leask Shelf LIfe
Live Art Magazine, May 1999
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1995

'a riveting perfomrnace of a searing choreography such as not been seen here since Mary Fulkerson from Dartington Colelge of Arts danced out her eight-hour autobiography at the National Art Gallery in the late 1970s.'  

Jennifer Shennan Beautiful enough to shut Plato up
The Evening Post, November 9, 1995
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