press  quotes


ON GROUND CONTROL - Director (2016)


“The script is so clever and the stage-craft and performances so compelling that every moment of the show requires focused, embodied attention. Only once it was over could I process the enormity of what I’d seen.”

– Georgia Symons, ArtsHub


“GROUND CONTROL is a taut and devastating, yet often frankly funny and beautiful, look at the future of our world—and an exhilarating look at the future of our theatre.”

– Jane Howard, RealTime Arts


“There is nothing like Ground Control in Australia right now. It’s exciting to see these concepts discussed in such a mature and considered way — and entertaining!”

 – Angus Cameron, Immanent Disasters




ON JURASSICA - Director (2015)


“...Everything works in this play and everyone has evidently followed a single vision and purpose and it shows in every glorious moment of light, dark, and every shade in between..”

– Planet Arts


" emotionally moving theatrical delight...Jurassica works on such a profoundly polished level, that the familiarity of the story is ultimately over-ridden by professional, captivating performances and economical but always effective directing”

– Eliot Seidel, Theatre People


"...Giovannoni’s intricately woven script is deftly handled by director Bridget Balodis, and the cast bring humanity to some larger-than-life characters....Balodis manages the complexity of the storytelling brilliantly, and the rare moments of disorientation within the timeline of the narrative feel intentional, as memories intertwine and collide in the characters’ minds. “

– Georgia Symons, ArtsHub



ON ANGRY SEXX - Director (2014)


"...A flash tour of raunch culture, Nicki Minaj-brand feminism, first-world feminism, slut shaming and feminine rage...It mocks the nay-saying ironies of generation X, the impulse to disengage, and instead proposes a furious affirmation."

- Andrew Fuhrmanns



"...the show is bold and dark, and poignantly blurs the line between truth and science fiction to make a lasting statement...the creative combination of dance, multimedia, pop culture, comedy and plenty of drama, make the performance one of the Fringe Festival’s hallmark shows: a proud display of independent art."    

- Brendan Hitchens



ON KIDS KILLING KIDS - Director (2014/2013)


“Kids Killing Kids comes together seamlessly. In just over an hour it addresses our  fascination with violence, the problems with cross-cultural collaboration, an entire nation's political history, and the role of theatre itself. Who would have thought such a beautifully surreal and thought-provoking story would involve little more than some milk crates, a few plastic blood packs, and an OHP?”

– Meg Watson, Concrete Playground


“Their exposition is a very thoughtful piece of theatre reflecting on theatre. They examine the purpose of theatre and their responsibility to the audience and the cast members with candour and honesty. Too Many Weapons’ script is excellent, Bridget Balodis’ direction is sharp and Melanie Koomen’s design is exactly what is required. I thoroughly recommend Kids Killing Kids.”

– Mark Pigott, Sydney Arts Guide


“I want you to know that I left that show with a feeling in my chest that took me sixteen hours to name. It was pride. Immense pride in artists and in being part of a global community of theatre makers that push hard against ease and complacency and thoughtless acceptance of the status quo. I was so proud of these artists, the Australian collective Too Many Weapons and Filipino site-specific theatre company, Sipat Lawin. Their fearlessness, their riskiness, their passion and their generosity…”

– Fleur Kilpatrick, School for Birds





ON THE SEANCE - Co-Director - NO SHOW (2013)


"Bitingly humorous and brilliantly executed, the night given wholly to art, viewers involved in a frenzy of ritual reminiscence of celebrity fixation itself, The Séance is a triumph of theatre. Webb is a revelation, with skills in both comedy and pathos, to be marvelled at for years to come, and NO SHOW's team should be noted as pioneers of an intelligent new breed of theatre."

– Vivienne Mah, Australian Stage


“You HAVE to book because this is one of those shows that people will talk about and you’ll be thrilled to say, 'I was there'

The Seance combines performance, ritual, obsession, celebrity, fear and the unknown to create art: Brilliant and welcoming art that explores beyond the obvious, that laughs at itself, that rejects any idea of boring and finds strength in a plastic pony.

If you’re open to exploring the unknown: go.

If you’re scared: take a deep breath and go.

If you believe the dead are with us: go.

If you don’t believe: go."

– Anne-Marie Peard, Aussie Theatre




ON SHOTGUN WEDDING - Co-Director - NO SHOW (2012)


“utterly involving, a testament to the power of the marriage ceremony.”

– Cameron Woodhead, The Age


“provocative, topical, induces thought, and, above all, the most fun I’ve had in a church. Ever.”

– Eugyeene Teh, Promptside Blog


“Delivered without irony or discontent, and more to the point, as a celebration, the work quite cleverly and acutely manages to question the place of marriage and the wedding ceremony within our society—archaic regulations in vows contrasted with the high level of excitement.

- Jane Howard, RealTime Arts


“the power of the ritual remained, partly because its familiarity was here sharpened into something less familiar, partly because it was something that the audience had, quite literally, created itself ... And it was enormous fun.”

– Alison Croggon, Theatre Notes




ON HOODS - Director (2009)


“Bridget Balodis’ direction is as precise and skilfully orchestrated as (Angela) Betzein’s language is deliberate and expressive”

– Peter Wilkins, Canberra Times