Press, Reviews & Features

Lee’s company, committed to promoting diversity in theatre, creates a version of Brown’s show that is as visually compelling as it is musically, utilising two D/deaf dancers, Raffie Julien and Anthony Snowden, choreographed by Mark Smith.

The Last Five Years weaves through it a number of innovative techniques designed to make theatre more accessible for people with hearing impairments, with use of sign language and deaf performers.

I have always enjoyed working with Angharad Lee. She is highly passionate about what she does and for the theatre community and it is infectious. I always head into a tech period knowing what we’re aiming to produce as she creates a great environment for creative conversation and collaboration, especially early in the production process. As someone fairly early in my career, Angharad has always made me feel confident in my ability and has also pushed me to expand my skills and design.

Director Angharad Lee can boast of the work she’s done in Wales: no doubt the workshops were fun for the youth, and the addition of puppetry amounts to another magic wand flicker from her.

To Kill a Machine feels very slick thanks to Angharad Lee’s direction, not once skipping a beat. The sudden way the game show smashed into the story combined with the delicate character moments between scenes mean the show never loses your focus, whilst not feeling rushed. Lee has managed to present Turing’s heart, rather than mind, as the focal point and never forgets this.

Working with Angharad Lee is always an inspiring experience. She is open, questioning, discusses and thoroughly explores everything in a bold and open manner. She listens, is fair and not afraid to admit that sometimes she is wrong and is willing to explore possibilities and give people a chance to offer different ideas and opinions. Most importantly it’s always fun and there is always laughing in a rehearsal space with Angharad with support and loyalty and willing advice.