“Arthur Pita’s marvellous retelling of Kafka’s The Metamorphosis catches pitch perfect right from the start.”
“Watson is amazingly changed into a slithering, sprawling, boneless creature.”
“Pita’s great gift as a choreographer is to sketch these two contrasting worlds so sharply.”
“every element of Pita’s dance drama is equally strong”

“The staging is cleverly choreographed by Arthur Pita, well designed by Simon Daw to evoke a petit bourgeois home and has an eclectic score by Frank Moon.”
“The suffering portrayed is that of medieval crucifixes, of Francis Bacon’s contorted males, of animals in their death-throes.”
“It is terrifying, heart-tearing, piteous. And glorious.”
“It must, must be seen.”
“dance genius”

“This radical mutation is arguably more gruelling to watch than Kafka’s descriptions are to read.”
“The performances are excellent”
“Gregor’s new body hideously exudes, knots himself into horrifyingly dehumanised shapes.”
“Pita’s riveting adaptation”

“Metamorphosis makes perfect physical theatre”
“a perfect symbol of otherness and neglect”

“Pita’s stylish new dance adaptation”
“flexed elbows and splayed toes suggest an insect’s delicate limbs, while the hunch of his back shows the pain of his transformation.”
“Gregor leaves a dark trail, a disruptive sign of where he has been.”
“the performances are superb”

“Arthur Pita presents an intermittently inventive take on the mysterious allegory.”
“physical portrayal of the unfortunate evolutionary is appropriately painful to witness”
“wonderfully evocative”
“a genuinely unnerving dream”

“Pita conjures in one neat cartoon loop the deadly continuum of Gregor Samsa’s life”
“Arthur Pita’s “re-interpretation” of The Metamorphosis does a fine job in translating the book’s smarting humour”
“Simon Daw’s set, two all-white rooms into which the audience peers from two sides like prying neighbours”
“Watson is horribly convincing as a blank-eyed salaryman, pre-delirium.”
“Kafka’s disturbing vision of a family man’s double life as a gigantic insect makes a dramatic ballet”

“giant bug, or alienated psyche ? Pita’s production allows you to read it either way”
“Watson’s freakish performance is a physical tour de force”
“The transformation sees the sinewy, hyperflexible Watson twisted into anguished and inhumanly weird shapes”
“Their ooze-streaked farewell duet is one of the saddest I’ve seen”

“Edward Watson … a shape-shifting, slime-spewing creature”
“an indelible vision.”
“exceptional embodiment of a living nightmare”


“the incursion of dancing herdsmen in their satyr dance is a flurry of human parchment fitted out with red-tipped phalluses.”
The Independent

“A truly inspirational herd of sheep arrive dancing a inspired haka that you won’t forget in a hurry, adorned with coats made of pages of the books that now scatter the stage.”
The Stage

‘A strong, stirring start for the RSC’s new ensemble”


‘Almost indecently enjoyable.’
‘The closing carnage… presented as a brilliantly choreographed dance of death complete with black angels and sinister exotic references.’
Dark, decadent and immensely stylish, Women Beware Women makes you laugh even as you shiver.’
‘The climactic scene of heartless lust, greed and carnage is one of the best ever staged at the Olivier. The stage – haunted by devilish creatures in skull caps and black wings – revolves, revealing one spectacular4 fatality after another in a whirling dance of death.’

The production gradually darkens as it approaches the climactic masked ball, delivered here on the revolving stage as a dizzying dance of murder.’
‘This is a staging that wraps its inky fingers around you and holds you, spellbound’
‘Most effective of all is the finale of the masked ball, where the swirling set, smoky air and seductive music turns the final roll call of bodies into a heady orgy of death.’

‘Marianne Elliott’s production of this 1621 play by Thomas Middleton culminates in a gorgeous, debauched masked ball.


★ ★ ★ ★
‘Magnificent… a revival that is as conceptually fresh as it is emotionally devastating.’
The Independent★ ★ ★ ★
‘A deeply felt, beautifully judged production of a masterpiece.’
Daily Telegraph★ ★ ★ ★
Evening Standard / Financial Times / The Times /
Daily Express / Time Out / City AM 


***** (5 stars)
“It is great to come across a new play that has you gripped with the plot-line…while laughing out loud.”
News Of the World, 31 January 2011**** (4 stars)
“Astute, acerbic and richly funny comedy by Gina Gionfriddo”
Guardian, 21 January 2011**** (4 stars)
“It remains sharp and funny to the end, and presents its characters with the irony and wit of a latter-day Jane Austen.”
Daily Telegraph, 21 January 2011


“a trio of Paris Hilton lookalike dancers with awesome legs ”
“the audience left the beautiful manor and gardens of Garsington happily ever after.”
The Stage

“sassy staging plonks us into a different sort of fairytale.”
The Sunday Times

“It was all done with verve,”
Financial Times


In this case, Pita’s masterful choreography, impeccably realized by the Zenon Dance Company, retells the tale of Orpheus and Eurydice as they watch, uncomfortably, and are watched in turn by the audience. For me, this is a dramaturgical home run, neatly subverting Gluck’s obligatory happy ending and introducing a latter-day wrinkle that freshens the myth.
Minn Post

Using the dancers of the excellent Zenon Dance Company and the choreography of Arthur Pita, Blakeley evokes the old theatrical-operatic tradition of the afterpiece, which satirizes the story we’ve just seen.Here it’s funny and yet disturbing.
Minneapolis examiner review

Adding visual spark is an absorbing physical display by the renowned Zenon Dance Company. Combining aspects of ballet and interpretive dance, the fluidly designed movements given to furies and spirits (choreographed by Arthur Pita) capture a dreamlike quality that has the power to transfix.
Twin Cities Performance Art Examine


“a folksy celebration that spills out into the audience”

“Pita has a reputation for producing surreal dance theatre and God’s Garden is no exception”
“nuggets of pure gold”
“duet with the dead body of the grandmother will surely move you to tears”
“There is humour at every turn.”
“Now thats revenge.”

“a dance of cocksure, muscular self-assertion”
“God’s Garden occupies the dreamy, ritualistic territory”
“spiked with a comedic acid which is Pita’s own”
” a choreographic passage of inspired ghastliness”
“Precision casting underpins the piece”
“the choreography is precision-finished”

“a striking 75-minute touring piece of dance theatre and live music, transmits the distinctive colour of island life, including its darker shades”
“with excitement like a bouncing puff-ball”
“there is riotous celebration”
“Never mawkish, the piece is full of earthy surprises.”
“its warmth and its genuine strangeness, this paradise lives up to its promise”

“an invigorating 75-minute piece of dance theatre ”
“the family celebrate with wild and whirling steps, full of love and warmth.”
“All are superb and their presences give the piece unusual richness and texture.”
“But what is really impressive is the way Pita makes his metaphors work so clearly.”
“a substantial and serious piece which confirms Pita a man to watch”
“God’s Garden consistently defies expectations.”
“rooted firmly in the earth”

“The parable is twisted into a black comedy of comeuppance and revenge”
“Even more beguiling are the talents Pita has assembled in his cast”
“Pita uses the cast with admirable invention”
There is a clever mix of the psychological and surreal”

“revenge and triumphant dance upon the coffin of her fiance were astonishingly powerful.”

“performances by the versatile troupe are admirable”
“ferociously energetic dancing”

“The parable’s meaty mix of sin, redemption and zipless hedonism offers rich choreographic opportunities”
“rich in merriment and melancholy”

“an immensely intelligent exploration of family ties”
“Pita’s idiom is more grotesque approaching emotion sidelong”
“a fierce stomp of vengeance closing an entrancingly subtle piece”


” Pita is getting clever at staging dance narrative, and he is cleverer still at using the two disabled members of CandoCo’s current lineup … it dabbles with disturbing forces “The Guardian “…fans of both vigorously clever, tongue-in-cheek dance-theatre and genuinely ghostly romance ought to be tickled and ingrigued by the whole thing. ”
Time Out ” engrossed in the characters: three twittering sisters in Grayson Perry frocks, their mother, a slinky virago who plays the ukulele, and an Alf Garnett in vest and braces, the titular stepfather. This last is creepily played by two men – one of them able-bodied, the other limp from the hips down so that, when clinging round the other’s neck, he drags after him like a homunculus, or a trailing shadow of death – very funny and most original ”
The Independent ” Pita has revealed himself not only as an inventive creator, melding dance and theatre into what he now styles “dansical”, but as an artist of darkest humour … his individual and imaginative language sets him as an innovative creative force in the dance world. ”
Ian Palmer “Arthur Pita and Rafael Bonachela, both hot choreographic catches ”
The Observer


” it seems right to deem the work touched by a kind of collective genius. No matter your age, it should leave you feeling stimulated, rib-tickled, lighter than when you walked in and glad to be alive “The Times ***** ” Theatre-Rites collaboration with Arthur Pita has come up with this hugely imaginative and entertaining dance piece ”
The Stage “this 65-minute piece of dance-theatre will tickle the fancy of both over-sevens and adults who haven’t entirely mislaid their inner child. “The Guardian


” Sex is not just in the air, it feels as if it’s in the water, too. “The Evening Standard ” …sexual heat in the big dance-number. Whether you dub it an opera or a musical, it is a show that deserves to be seen. ”
The Guardian ” as well as a show-stopping jitterbug executed by John Moabi and Kate Nelson. ”
Daily Telegraph ” there are some great numbers in Street Scene (“Somebody’s gonna be so handsome”, “Moon-faced”, “Starry-eyed”) ”
The Independent ” And there’s a show-stopping drunken dance routine ”
Manchester Evening News

CARMEN 2006 ( Royal Opera House )

” Arthur Pita’s flamenco style choreography oozes sexiness ”
Metro “… with happily imperfect bodies cavorting with a wink and a slink through some brilliant choreography by Arthur Pita ”
The Times” she does a mean flamenco routine ”
The Sunday Times” Arthur Pita’s flamenco-style choreography has the supreme virtue of looking natural. The vivid, foot-stamping dancing continues the gypsies’ dramatic line rather than merely operating as token display. ”


” Zambello and choreographer Arthur Pita keep the stage alive ”
Variety” Arthur Pita’s choreography lends much pizzazz to proceedings ”
Neil Dowden” Francesca Zambello’s effusive direction and Arthur Pita’s snappy choreography ensure the pace never falters ”
The Stage ” Arthur Pita’s choreography, taking it’s cue from Kern’s rich eclectic score to mix folk dance, cake walk, rag, and vaudeville and a hard -working cast achieve some memorable moments ”
Times“… and some shimmering choreography from Arthur Pita also adds to the ‘wow’ factor director Francesca Zambello has set out to achieve ”


” an equally captivating and mesmerising work …intense dance sequence , in which strength and prowess blend and mingle … “The Spectator
” dominating the stage in a wicked charade of social power play … very funny , confrontational ”
The Guardian


” Snow White in Black…..takes the concept of unnatural mothers and lost children to delicious gothic extremes, casting the wicked Queen as Joan Crawford (specifically, Mommie Dearest) and having the waiflike Snow White swaying on stilts over a brood of spooky changeling dwarves. This is a work of comic, perverse originality fabulously staged and expertly performed. ”
The Guardian” a surreal dark comedy that in Arthur Pita’s imagination becomes a Grand Guignol family drama … Pita’s macabre tale is a striking piece of visual theatre ”
Times” Snow White in Black by Portuguese choreographer Arthur Pita , was absolutely stunning ”
Dance Europe” Over the top? Absolutely ”
The Observer

THE GAMBLER 2005 ( Opera Zuid )

‘Gokkend op weg naar het einde’
(NRC Handelsblad, Kasper Jansen 21.11.05‘Goede zangers in doods Roulettenburg’
De Volkskrant, Frits van der Waa 21.11.05‘Dagobert zonder liefde’
(Trouw, Kees Arntzen 21.11.05


” delicious sections of pure dance ..Pita’s display of resourceful originality was refreshing ”
Dance Europe ” great dancing and dramatic twists and turns. It is funny and witty ” Evening Standard ” Pita’s writing is both muscular and musical…. ”
Times” A powerful piece of dance theatre … CAMP is audacious ”
The Guardian


” Here, you thought, is Verdi’s Forza. And how often can you say that? “-Nicholas Payne, OPERA

FRANKENSTEIN 2004 ( Derby Playhouse )

” Spine-freezing and stomach-turning moments…..This Frankenstein is a persuasive composite of high-tech staging and old-fashioned melodrama, so carefully fused you can barely see the bolt through its neck ”
The Guardian

IDOMENEO ( performed by Placido Domingo ) 2004 ( LA Opera )

” Calábria did bring in a superb troupe of dancers under choreographer Arthur Pita  to bolster the action and act out the part of “sea” or “ship” or “fate.” Mostly, this conceit worked well, and their sinuous, celebratory modern dance, recalling the images on Grecian urns, capped the evening nicely “ Marc Porter Zasada

LA BOHEME 2004, revival 2006 (Royal Albert Hall )

” Pacey , imaginative and touching … a marvellous show ”
The Sunday Times” a powerful , haunting Boheme well worth seeing ”
The Guardian” Roller skaters, jugglers, and a military band , La Boheme never looked quite like this ”
Evening Standard” With its skating waiters , decidedly mixed couples, sailors, tarts, hawkers, rampaging kids, a strongman and a military band thrown in , its perfect match for the riot of Parisian street life contained in Puccini’s music , and hugely enjoyable. ”
The Stage

BoomShe SheBoom & BUGGER a fairy tale

” this highly unusual double bill does prove Pita a choreographer of rare dramatic flair and considerable originality ”
The Stage” Pita seems to have both comic sense and the ability to write male love pas de deux of striking grace and eloquence. Pita is a bright spark in the making ”

CALEDONIAN ROAD 2002 ( Almeida Theatre )

” The Almeida is the only major London theatre to take site-specific work on board. The theatre became its own performance when, on moving to Kings Cross, it took the area into itself in Lulu. Now Ben Harrison has done the opposite with Caledonian Road and guided audiences through the streets. At times, this is like seeing your normal life framed, at times it drifts into surrealism. . .At its best, it unsettles the way you look at the world: you never quite know what’s the scenery and what’s action, what’s real and what’s not. “The Observer