Dave Drayton, Journalist

“I’m missing a filter about sharing things, I think. I’ve always shared things, really quite quickly told people things that maybe aren’t appropriate, maybe some people would keep secret, and for some reason it doesn’t embarrass me or anything."

“I can work really intimately with people and explore stories and storytelling that is of the everyday. The everyday is what connects us all.”

"I’ve always been fascinated in terms of choreography and composition how albums are put together, that was especially relevant with vinyl, when you still had two sides.”

“So I’ve spent a month or so rehearsing with dancers before but it’s amazing, it’s a completely different way of working to what you normally do as actors."

“Harvest is very much about – literal and metaphorical – what we harvest to eat and sustain us, but also what we harvest personally in our lives and what we leave behind in that sense.”

“I suppose it’s my early training in theatre and dance that has led me to situate myself first and foremost as a body, which is thinking and feeling and expressive of truths which are outside of language.”

“She’s a very dynamic character; she does not stop too many times in conversation. She’s a bit like a train.”

“I think there are some amazing people doing some amazing things and making some incredible changes to how we are as a society who are lawyers and working in the legal system. For myself, though, I’d rather just do the arts."

“The play shows human beings dealing with that society of spectacle and, particularly the younger character in the play, how she is trying to reconcile love in that type of world."

“It’s been really wonderful. I think because the actors are so into everyone’s work, they’ve been really generous with each other so we’ve all worked on each piece together and then the individual actor will take it from there. We’ve built it together."

"And they are so supportive of new and old work, you know. Torch Song is coming into its thirtieth anniversary from the last time it was here – it holds a lot of significance.”

While visually stunning, Masi lacks a coherent enough narrative to retain the kind of attention needed to completely follow this dialogue-less 70-minute piece of physical theatre.