'As a part of our interview series with the rising stars in pop culture, I had the pleasure of interviewing Aurora Adams. Aurora is an actor from London, UK, specializing in puppetry, movement/physical performance, and voice over. As well as performing freelance on stage and screen Aurora also writes and creates her own work, and is currently working in lockdown on her third short puppetry film Fragile.'
Interview with Aurora Adams by Ben Ari for Authority Magazine/Thrive Global. Full interview at:
And on Thrive Global at:
'The most important thing to say is that the most crucial part of the show, namely the puppetry, is generally wonderfully done, and crosses over into dangerously moving territory at times. The puppetry trio... work seamlessly to create the crucial magic that makes the solid, fixed face of the octogenarian Alfie seem to somehow change in accordance with the needs of the scene.'
Gus Mitchell, A Younger Theatre, April 24th 2019.
Dark Matter- Tristan Bates Theatre, A Piece of the Continent Festival.
'A little old man in his eighties, and it took three puppeteers to bring him to life. Two women moved his arms and legs, and a man moved his head. So lifelike – constantly turning this way and that as he talked to us in the audience, and to his carer in the home'.
Fringe Review; Brighton Fringe 2017. Dark Matter.
'The delight of Dark Matter is that it harnesses everything puppetry has to offer – from the doll’s apparent weightlessness as hands move it through the air, to the delicacy of its movements – to reflect the fragile experience of living with dementia'.
'As the skillful puppeteers . . . and Aurora Adams move him, Alfie is lighter than any ballet dancer. These dances, in which Alfie wanders lost through his own memory are some of Dark Matter’s finest scenes.'
Both above quotes from:
Ettie Bailey-King, A Younger Theatre, August 12, 2015.
Dark Matter, Etcetera Theatre.
Dark Matter voted No. 6 of the Top 20 shows in the Camden Fringe Festival 2015 by Fringe Review.co.uk.
'The best part of the show is the puppetry: clearly a lot of work has been done developing their histories and movements. They complain and tease and comfort one another as only family can.'
FIRSTS Festival – Little Angel Theatre.
By Alexander Winfield, 20th March 2015.
'The unearthly, wordless, yearning keen of the Selkie soars over the plunging and rolling chords of the sea in a stunning puppetry sequence in which the seal hunts a fish through the waves.'
'Simon Bejer’s gorgeous puppets... are intensely atmospheric and cleverly realised, all expertly manipulated by puppeteers Aurora Adams and Nick Lawson. The combination of puppets and humans gives the opera a surreal, yet serious edge, the story always playful, but holding a profound sense of the symbolic too.'
Both above quotes from: