'This Bright Field, Clinkard’s most recent work, is full of visual pleasures and surprises, but his overriding preoccupation is with the transmission of feeling.' **** THE OBSERVER


'A poetic fusion of sight and sound' *** THE GUARDIAN


'This Bright Field glows with the extraordinariness of life on earth.' ***** THE ARGUS


'Clinkard has in effect unified his own choreographic field to develop a theatre of the senses from the inside out' WRITINGABOUTDANCE.COM


'In a nod to Clinkard's advocacy of diversity on-stage, the now-uniform group is still self-expressive; and by this point, we feel we know them.' SOUTHEASTDANCE


'The changes in scale and sound keep destabilising and reconfiguring our relationship with what is happening onstage: we know them/we don't know them, they're like us/they're not like us, they're pedestrian/they're virtuosic, there's a story/it's abstract – but these responses feel reductive, binary, when its clear the work isn't showing us something but sharing something.' DRAFF.NET




THE LISTENING ROOM (Danza Contemporanea de Cuba)


'The work’s charm lies in its seeming spontaneity. It is rather like watching the weather as we see the dancers drift into a quietly private headspace or clump into riotous choruses whose music we can only imagine.' *** The Guardian


'The dancers throw interpretative shapes in silence or plunge through loose-limbed ribbons of motion in beautifully-crafted, ever-changing formations. ' **** The Stage


'Clinkard’s clever structuring creates a tight, highly satisfying work, while allowing the dancers a great deal of freedom.'


'what makes this work charismatic is its thought-provoking invitation for the audience to decipher meaning themselves. The underlying message does not need to be rigid, but it can be left to the fluidity of the audience members’ own interpretation.'


'Theo Clinkard talks about his focus to see instinctive choices. This is apparent and resonates with moments of authenticity and humility. The cast find it a pleasure to play in this arena, which is also deeply crafted in movement and phrases of choreography.'




SOMEWHAT STILL, WHEN SEEN FROM ABOVE (Tanztheatre Wuppertal Pina Bausch)


'The arrestingly pared-back opener is by British independent Theo Clinkard. 'Somewhat Still, When Seen from Above' is a group portrait in dance, and it’s clear that Clinkard knows what treasures he has in performers who can deliver a world of vivid personality through the smallest look or gesture.' *** The Guardian






'Clinkard’s choreography has an unforced, unhurried quality that is very much of the moment. He muses, tinkers around with his material like a bloke in a shed, and then, quietly and deftly, pulls the loose ends together. The result is intimate, human-scale and charged with joy.' **** The Observer


'a rump-shaking finale, which fuses street dance and contemporary shape-shifting shimmies to James Keane's thunderous soundtrack. It makes it impossible not to move in your seat.' 


'Of Land and Tongue is like an oddball word game where dancers' bodies, actions - interactions with us - offer meanings of words that elude precise English equivalents.' **** Herald Scotland


'The audience erupted in applause, and there was a shared sensation of joy in knowing that we’d all just partaken in something truly extraordinary.'






'Grounded as it is in human experience, Ordinary Courage is a very approachable work. Clinkard’s movement language is deceptive, its apparent simplicity that of well-written dialogue. There’s nothing that doesn’t need to be there, and the precision with which we are led through the darkness of grief to the light beyond promises well for his future work.' **** The Observer


'there is a robust structural integrity in his choreography that makes its point with purpose and vigour and he commands an effective use of time and space in a work that is expertly performed by an excellent ensemble.'


'This particular mix of dancers is thrilling to watch, each bringing a radically different presence to the stage, creating an enjoyable incongruity to their individual offerings.'