Press
Battersea Bardot
“…Anne Rabbitt in the titular role exudes empathy and sympathy in equal measure…there is only one thing to dislike – the run isn’t long enough!”
London Theatre Reviews **** Kay Johal
“This two-hour musical was a ride. From being excited during an American press conference to anger at using her dreams, the actress sold her performance between quick switches of emotions as the character runs between memories…”
Voice ***** Ayah Khan
“…this brilliant but vexing new musical…played with passion and sympathy by Anne Rabbitt.”
Time & Leisure Jenny Booth
Self Service
“…a clever, quirky one-woman show in which she demonstrates she has lost none of the talent and courage which should, by rights, have taken her further up the showbiz ladder…She plays multiple parts (she is superbly good at accents), sings in a variety of styles (including rap) and plays the accordion…a performance so likeable, talented and free of self-pity that we wish it went on longer.”
The Scotsman **** Susan Mansfield
“Rabbitt tells her story with sincerity and good timing…There is quality in this original idea and performance, go and experience it!”
Fringe Review Highly Recommended Jo Tomalin
“Rabbitt flits between playing the mechanic, her inner critic and herself with ease and joy; her smooth transitions lead to big laughs. She is a gentle performer, generous with her talents in physical comedy, music and monologue, there’s never the sense that the audience is in anything less than completely safe hands.”
FEST magazine Kirstyn Smith
I Know The Truth
“Writer performer Anne Rabbitt is reinventing her work with wonderful results!… Rabbitt’s calm yet decisive even-paced delivery complements her writing and produces a welcome provocative and meaningful six minutes…Take a moment to immerse yourself in this visual and aural storytelling experience – and breathe!”
Fringe Review. Hidden Gem Award Jo Tomalin
Bookshelf Ballad
“…an eloquent poetic narrative, which is accompanied by a beautiful, hypnotic film made by her son…Together, they have produced a small but perfectly formed love letter to life and literature which demonstrates that there is no lockdown on imagination.”
The Scotsman **** Fiona Shepherd
“This is an evocative and moving piece of poetic storytelling. It’s filled with real feeling and moments of dark humour.”
Fringe Review. Highly Recommended Jo Tomalin
Lady of Shalott
“Imgination and creativity highlights what can be achieved with very little set and powerful use of voice.”
The Stage
Cry Wolf
“She has a great gift of creating a new person in a few lines…fresh and uncontrived.” Micheal Jacob. Co-producer
“I love the writer’s passionate commitment to her characters.” Julian Meers. Co-producer.
Televisual. Belinda Hanks
“Cry Wolf is a very warm, original, intelligent and funny series by an exciting new writer.”
Pearson Television News. Geoffrey Perkins, Head of Comedy BBC.
Walky Talky
“For the first time, the company uses dialogue as well as dance…And does so very well. The text, much of it funny, arises quite naturally…”
The Independent on Sunday. Anne Sacks
“There is a new, relaxed intimacy to the work…because they speak, for the first time, as well as dance…There are two big surprises: one is how like their dancing The Cholmondeleys speaking manner is…the other is the inclusion in the cast of the writer, Anne Rabbitt, who turns out to be as good a dancer as she is writer. Her words engage our imagination and bring out the personalities of her colleagues.”
The Observer. Jann Parry
“Held together by stretches of diverting dialogue by Anne Rabbitt, a writer co-opted as performer – the best compliment is to say you’d never pick her as the odd one out…here The Cholmondeleys re-emerge from the shadows…”
Hampstead & Highgate Express.
“…brave and entertaining work in which the Cholmondeleys mixed text with dance for the first time.”
The Guardian.
Glue
“…an articulate essay in masculine sefl-absorption.”
Ham & High
Desert Island Discs
“Anne Rabbitt’s delicately drawn portraits of female isolation range from the heartrendingly poignant…to the final sadly comic woman…The final image of her blushingly scratching her companionable cello is pure Stevie Smith. Her performance is one of considerable intelligence, range and depth.”
Time Out. Ann McFerran
“Anne Rabbitt has painted a powerful and persuasive triptych of loneliness. Her authorship is conscientious and her acting compassionate…A riotous night out it ain’t. It requires patience, concentration and sympathy…this sincere and provocative play…”
Midweek. William Cook
Rabbitt & Doon
“What’s striking about this devastatingly funny duo is the way they employ theatrical tricks and skills within their act…brilliant timing and cunning use of pauses. Above all, the expressions are always made to count: they’re capable of summing up a character through a single glance, stopping a routine in mid-flow to offer instant visual impressions of the turmoil of emotions swilling around inside them, then snapping straight back into the action…they’ve already developed the kind of rapport on stage that could easily be exploited in half a dozen different ways…I suspect we ain’t seen nothing yet.”
Time Out. Malcolm Hay
“Both have a considerable talent for comedy…”
BLITZ magazine. Bill McCoid
