“Luke George’s work left a capacity audience tingling with internal animation knowing they had just experienced something as innovative as it was authentic.”


    -Gary Anderson | Arts Hub



“Luke George is an artist who is deeply concerned with the material experience of performance. His work is an exhilarating investigation of the present moment.”


    -Alison Croggon | ABC Arts





“Erotic Dance”

(2016)






















Review:


“...This work interrogates itself, and its capacity to create a connection with those watching. The erotic dance is only a metaphor for the performance, of the bonds created and undone with the audience. Purposefully provocative, George pushes the framework to the very limit - pushes those lines that define the tenuous link between the set and the room - and in doing so literally propels us into the set.”


Denis Sanglard / Un Fauteuil Pour l'Orchestre






“Bunny”

(2016)


























Review:


“Two hours disappear quickly in BUNNY, a bondage-performance event in which desire hums beneath explorations of trust, consent, collective responsibility, spectatorship, sexuality and power... BUNNY is a momentary explosion of questions. It is a temporary community. I leave abuzz with an emergent sense of my own place in those questions; with a new sense of my own desire.”


Cleo Mess / Real Time






“Not About Face”

(2013)

























Review:


“In Not About Face obscurity and identity were like two eyes peeking through the same slit in a sheet; to disappear was to perform a magical appearance, to do something magical was to undercut the magic of the theater, to transform was to confuse, to question, to witness, through the power of belief and fake belief.”


Alex Romania | Culturebot







“NOW NOW NOW”

(2010)





















Review:


“The effect of all these attacks on the present is an increasing buoyancy and joyousness. George’s explicit intention is the exploration of the present moment, especially the complexities and contradictions of spontaneity when it collides with the consciousness of a structured work of art. In depriving us of narrative, sense or expectation, NOW NOW NOW opens up a glorious sense of liberation. Dadaist post-post-modern dance? I don’t know. Whatever it is, it went by in a flash: it effortlessly engrosses your entire attention. It’s very funny, provoking almost constant ripples of laughter, but underneath that is a sense of generosity and mutual trust that is mysteriously profound.”


Alison Croggon / Theatre Notes

|Home|

Press | Video