Reviews

"Marks Smiths choreography added energy and detail.."

We chat to Mark Smith, West End Choreographer! Mark Smith is the Founder and Artistic Director of Deaf Men Dancing and has been nominated as Best Choreographer in the Off-West End Awards and the Broadway World UK Awards. We discuss his most recently choreographed show, The Little Big Things, nominated Best New Musical, at this year's @whatsonstage Awards. Mark shares his choreographic processes and figures of inspiration, analysing his most recent piece, Bowie Ballet at the Bird College Cre8 Showcase.

Whats on Stage "The cast are superb" ****

The Stage "A smartly executed epic" ****

Evening Standard "Thrillingly radical A triumph"

“A gorgeous, glittery, dazzling delight of a Musical that reimagines what theatre for young audiences can be like” ★★★★ Everything Theatre

Five stars
‘A REINVENTION OF FAMILY THEATRE’
Critics Choice, Reviews Hub on Duckie
Four stars
‘A JOY FROM START TO FINISH’
The Skinny on Duckie
‘FILLS THE SPACE AND THE SOUL’
The Stage on Duckie

“Mark Smith’s astonishing choreography is equally celebratory, fusing muscular contemporary dance with sign language to inventive, theatrically potent effect, and including the wheelchair users in the company with a fluid, entrancing grace.”
- WhatsOnStage

And as whimsical as twirling a ribbon may seem, the choreography – by Deaf Men Dancing’s Mark Smith – emerges as something more profound as elements of sign language are woven through.

“Under the brilliant choreography of Mark Smith, Divina throws themselves into each dance routine, using the entire stage as intended.”
- The Mancunian

“BSL is woven intricately into the production thanks to a clever use of character doubling, and sign direction by Manchester based actor/director Raffie Julien and clever choreography from Mark Smith

“Mark Smith’s choreography – all elbows and hands – has a snappy, syncopated precision that is a joy to watch.”
- The Guardian

“Choreographer Mark Smith has successfully created an inclusive show that is never tokenistic. Indeed, the use of BSL and SSE does not merely accompany the narrative – it amplifies it. In this production, signing and singing are not just a letter apart, they are one and the same.”
- Buzz Magazine

“The whole thing races along at hilarious breakneck speed, with some nifty knockabout choreography from Mark Smith”
- The Guardian

“Choreographer Mark Smith has done a wonderful job of combining signing with dance so that those of us who don’t sign aren’t quite sure whether we are watching a word or a movement, thus creating a unique kind of poetry.”
- WhatsOnStage

“The final winning piece is the choreography by Mark Smith”
- UK Theatre Net

“Philip Franks direction kept the play moving seamlessly through the fascinating series of encounters with inspired use of the large stage and technical wizardry at his disposal to create ins and outs and roundabouts. This was all helped by atmospheric lighting from James Whiteside, a musical (Matthew Scott) and choreographic (Mark Smith) time line to help set the scene.”
- Public Reviews

“The show’s wonderful choreography, however, is credited to Mark Smith (of Deaf Men Dancing fame, and the opening ceremony of the London Paralympic Games). From the outset, the dancing plays a major role in the production, and is probably the most noteworthy element of the evening.”
- Musical Theatre Review

Keep a look out for the ballet moment because if you go to see this show for one thing, go for this part. Mark Smith has really upped his game this time.”
- A Younger Theatre

Mark Smith’s choreography manages to cram Charleston, foxtrot and even formal ballet into the Union’s tiny space, and despite the egg-shell lightness of the book there’s a catch- it-if-you-can quality to this barely deserving show performed with Busby Berkeley panache in a dripping South London railway arch.”

-Daily Express

“Choreographer is Mark Smith, and while in parts it looks like it's a free for all pogo fest, the choreography is spot on for the era. With the "ensemble" choreography it's as good as anything form the West End.”
- Theatre Reviews