What the press said









"Action to the Word's Dracula blew my mind"
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Arts Award Voice
"Pure indulgence"
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Three Weeks
"Must see. Perfection"
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Dark Chat
star star star star
The Mirror
star star star star
British Theatre Guide
"Aesthetically decadent, ferocious and bloody musical feast"
star star star star
A Younger Theatre
"Likely to leave audiences breathless from its performers' alluring talents and seemingly immortal energy"
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Edinburgh Spotlight
"Versatile and impressive cast"
Fest Mag
"A dynamic and sexy take on the Bram Stoker novel"
Edinburgh Evening News
"Going down a storm - big young audience and instant standing ovation"
The Guardian
"Will leave many people begging for another bite"
"Incredibly talented singers, actors and musicians"
Broadway Baby
"Sexy, raucous, vivid. Simply superb"
Musical Theatre Review
A Clockwork Orange, 2013 Tour
"Action to the Word's horror show hits with a powerful tolchoking. O my brothers, to it we raise a glass of moloko."
Time Out Hong Kong
"They're young, they're fit, they're beautiful. They have the grace of dancers and the power of athletes and they move together like, well, clockwork. Directed by Alexandra Spencer-Jones A Clockwork Orange is nothing short of brilliant."
Sarah McNeill, Subiaco Post
"Director Alexandra Spencer-Jones innovates and takes liberties. In some ways it's exhausting yet exhilarating to watch, rather like a thrill ride in a carnival park."
Ron Banks, The West Australian
"This stunning production is a ferocious but finely choreographed adaptation of the rise and fall of Alex De Large, played superbly by Martin McCreadie."
Megaphone Australia
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"A Clockwork Orange is an immersive triumph of modern theatre that will confront, then refuse to neatly providing answers to all of the terror it raises - real horror show, in all senses of the term."
Concrete Playground
"Alexandra Spencer-Jones and her Action to The Word theatre company have staged an all male adaptation of Burgess play and it is immaculate"
Stage Whispers
"The unequivocal display of seething aggression is electrifying, especially when coupled with a minimal set, loud and belligerent music. The production is slick and Spencer-Jones' attention to detail, especially with respect to the choreography, is an absolute delight. Every movement is sharp and has impetus. There is not an ounce of excess fat in the production and the cast manage to successfully keep the energy taut at all times. Revisit a confronting portrayal of human nature in all its gross excesses and walk away having seen theatre that does not merely provide meaning, but provokes it"
The Australian Stage
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"Director Alexandra Spencer-Jones utilised dance and physical theatre as a method of suggesting violence and bloodshed, and in doing so, created a feeling of unease and disgust that could not be found through any other medium. McCreadie's performance was enhanced by the fabulous work of the ensemble cast, all of whom transformed before our very eyes, from priests to doctors to corrupt officers and back again. Their stunning displays of acrobatics and dance allowed every character to have a real sense of nuance, and made the entire production run like? well, like clockwork. Action to the World has created an innovative and enthralling interpretation of this classic story, or perhaps better put - real horrorshow."
Vulture Magazine
"The ensemble lead by actor Martin McCreadie (as Alex) is breathtaking in its treatment of the ultraviolent and highly sexual text"
Australian Arts Review
"Action To The Word, a company known for its unique adaptations of classic works, has found an electric way to present this tale of the nature of youthful violence through director Alexandra Spencer-Jones' frankly brilliant use of music and movement"
Theatre People
"Director Alexandra Spencer-Jones uses her all-male cast to mesmerising effect. Every interaction between Alex and the fiercely talented ensemble cast oozes testosterone. This interpretation of the literary classic is certainly not for kiddies or conservatives. But then again, few fans of A Clockwork Orange fall into these categories. Action to the Word?s production is physically impressive, as is the versatile cast. Those in the front row beware - you're bound to cop some sweat from the stage"
Fashion Journal
"This production is begging to be seen a second time"
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Jon, Shand, The Sydney Morning Herald
A Clockwork Orange, Soho Theatre - 2012
"At the centre of the saucy vortex Martin McCreadie makes a vigorous, handsome and charismatic Alex - mad, bad and dangerous to know"
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Time Out
"The production is - like its anti-hero - both charismatic and repellent. McCreadie is all muscled grin and puppy-dog eyes, and the production sucks the audience in with an indie-pop soundtrack and a physical performance style that owes something to Steven Berkoff, but has an edgy contemporary punch of its own"
The Guardian
"A mix of elaborate balletic sweeps and ugly brute thuggery"
The Stage
Edinburgh 2012
"A definite must see - truly outstanding"
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The Public Reviews on A Clockwork Orange
"Completely captivating"
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Broadway Baby on A Clockwork Orange
"They are a thunderous force of nature. I have to see this gorgeous, furious show again"
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A Younger Theatre on A Clockwork Orange
"Action To The Word company return and manage to create another high octane, tension addled and sexy all-male show"
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Quotidian Times on A Clockwork Orange
"Electric, thought-provoking and thrilling. An amazing performance that does the classic novel proud"
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Three Weeks on A Clockwork Orange
"Martin McCreadie is charismatic, muscular and infinitely watchable"
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The Independent on A Clockwork Orange
"Machismo and muscle-bound charisma"
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The Telegraph on A Clockwork Orange
"Homoeroticism drips from every pore of the scantily clad cast as their testosterone-fuelled horror show knocks us for six"
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Metro on A Clockwork Orange
"A visceral, violent, sexual, steamroller of a production"
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ScotsGay on A Clockwork Orange
"The stand-out theatre performance was an all-male version of "A Clockwork Orange" by Action to the Word - physical, dynamic and arresting"
The Economist on A Clockwork Orange
"Fixating, appalling and gorgeous"
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Fringe Guru on A Clockwork Orange
"Literally breathtaking. Raw, aggressive and jaw-dropping - theatre at its most physically powerful"
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Fringe Review on A Clockwork Orange
"Sit in the first two rows of the all-male A Clockwork Orange at Pleasance, and you risked a bath in the actors' sweat"
The Guardian on A Clockwork Orange
"To stay too long at the Traverse, though, would have meant missing out on the rest of what the festival had to offer, like a physically vibrant stage adaptation of Anthony Burgess's disturbing novel A Clockwork Orange"
The New York Times on A Clockwork Orange

"Ryder's performance transformed a role that is so often portrayed as a dull stargazer, into a powerful, tragic story of the coming of age."
Stet Journal on Romeo & Juliet
Edinburgh 2011
"It's great to not only see a young company, but any company, do Shakespeare this well... All of the cast are worthy of commendation for defining their characters so brightly."
The Stage on Titus Andronicus
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"Murder, rape, revenge... This is Shakespeare as it's meant to be. A gorgeously acted and staged gory gothic slaughter to indulge in."
Three Weeks on Titus Andronicus
"An outstanding all-male ensemble. The pure physicality and energy is astonishing. This is a show that everyone should experience."
What's On Stage on A Clockwork Orange
"The movement sequences are particularly well orchestrated...Alexandra Spencer-Jones' production grasps just how relevant Burgess' work remains, especially given current events"
The Stage on A Clockwork Orange
"Just go see it - this is one of the best potential pieces of new musical theatre I have ever seen in 15 years of going to the Fringe."
One 4 Review on Constance & Sinestra
"Violent yet gentle, brutal yet subtle, arousing yet sickening: this production of A Clockwork Orange is breathtaking."
Three Weeks on A Clockwork Orange
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"I challenge you to try and take your eyes off the stage. Martin McCreadie leads Action to the Word through one of the most energetic productions I've ever seen. Go. Go and see this triumphant horrorshow. And see it again, and again, and again."
Broadway Baby on A Clockwork Orange
"Funny, thought-provoking, energetic and relentlessly riveting, this is without doubt one of the best productions anyone is likely to see in Edinburgh this summer."
Theatre Lounge on A Clockwork Orange
"A world of fantastical and bizarre characters. Each of the cast members beautifully take on the characters they are playing. It is a wonderful hour of escapism for its audience"
Fringe Review on Constance & Sinestra
"Hansel and Gretel for hipsters... pretty much the perfect eccentric mid-afternoon diversion."
Edinburgh Evening News on Constance & Sinestra
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"A deeply hedonistic piece, it explores sexuality, masculinity and aggression through contemporary music, exquisitely executed movement and the notoriety of Burgess' text."
The Skinny on A Clockwork Orange
"Thomas Christian owns the stage as Titus, moving effortlessly back and forth from righteous anger to morbid humour. Certainly not for the faint hearted, this adaption doesn't skimp on any of the orgiastic or cannibalistic elements of Shakespeare's original - and is infinitely more entertaining for it."
Fest Mag on Titus Andronicus
"Action To The Word's new musical offering is an unsettling and visually gorgeous Gothic fairy tale. Samantha Arend's wayward Sinestra is deliciously devilish. All vocalists shine, particularly Camilla Rockley as Mother whose voice is soaring and soothing."
Scotsman on Constance & Sinestra
"If you want a late night gothic horror story with brilliant and exuberant acting, taking you on a visual and verbal roller-coaster ride, then get yourself a ticket for this one. You won't regret it."
ScotsGay on Titus Andronicus
"Stunning... The dynamic acting blows you away. This is a show you really must add to your list!"
ScotsGay on A Clockwork Orange
"This show has a really strong cast with music and projections that fit well with the style of the piece. A great gothic fairy tale, Constance and Sinestra captures all things spooky, strange and surreal."
What's On Stage on Constance & Sinestra
"This new musical from Action To The Word is a rather delightful Gothic oddity. The script is tight and the songs are even better, sometimes haunting and at other times jaunty and sweetly delivered...Exquisitely creepy."
Three Weeks on Constance & Sinestra
"The jewels are the strong songs which allow the cast to shine. Written by Spencer-Jones and composer Patrick Gleeson, their vision, depth and thoughtful arrangements put to shame the hackneyed standards of the contemporary musical scene."
The Stage on Constance & Sinestra
"Slick movement sequences, gorgeous performers, a stonking soundtrack and a charismatic lead. Spencer-Jones powerfully communicates Burgess' commentary on the endemic nature of violence in our society."
Fest Magazine on A Clockwork Orange
"A thrilling and sometimes upsetting combination of Tim Burton and Hansel & Gretel. A pleasure to watch, and musical numbers blend marvellously as they vary between teary laments and comedic character pieces. A beautiful little show."
Broadway Baby on Constance & Sinestra
"The audience is completely captivated through Martin McCreadie's phenomenal portrayal of our dark hero Alex. His acting demonstrates a deep understanding of the character, bringing a boyishly dark and unnerving realism to the play... I would recommend any fan of violence, Shakespeare, Burgess, physical theatre or passing social commentary to see this production."
Mouth London on A Clockwork Orange
"Spencer-Jones's direction was clear and coherent - an entertaining spectacle. Tom Christian made a strong Titus. Stevie Raine made an excellent sneering Demetrius - a performance which deserves to be seen."
Broadway Baby on Titus Andronicus
Previous Productions
"For Shakespeare to work at the Fringe it has to be something special. Cue Action To The Word"
Three Weeks on Titus Andronicus
"Such tight direction... interesting... brilliant"
Time Out on The Merchant of Venice
"Shakespeare's writing is so cleverly adapted. Handled with a soufflé-light touch"
Islington Gazette on The Merchant of Venice
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"An electrifying ensemble"
RemoteGoat on A Clockwork Orange
"Quite breathtaking, thought-provoking, powerful, comedic and seriously erotic" on A Clockwork Orange
"Shakespeare for the iPod Generation"
Cambridge Evening News on Shakespeare Shorts
"Inspired and utterly unique"
Three weeks on Titus Andronicus
"Violent, horrific and brutally real"
The Wharf on Titus Andronicus
"A world of waking nightmares"
RemoteGoat on Titus Andronicus
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