Assis Carreiro
Artist Management 
International Arts & 
Cultural Projects

The Press

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"Hotel, is so contemporary it hurts......it’s a dystopian vision of a hotel as prison, mixing film both live and projected with the dance to create a clever and surreal space where anything can happen. The movement is consistently interesting, punchy and spiky, and the shifts in focus from close-up to long-shot genuinely intriguing."

Sarah Crompton, The Observer

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"Runacre-Temple achieves the tenuous balance between the physicality of fluid, expressive movement and naturalism. That skill for both stripping back and layering action reaches its pinnacle in a scene where the dancers interact with their filmed reflections, multiplied across the backdrop that separates the Hotel frontage from the rooms hidden behind. It's nothing short of brilliant..."

Rachel Elderkin, The Stage

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"This Coppélia is a successful stride into ballet's future."

Lyndsey Winship, The Guardian

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"This is a treat of a show, full of Christmas cheer. The department store here becomes a sacred space of transformation, an enclosed world dedicated entirely to dance, where cares and troubles are chased away like the rats in Act 1." 

Katy Hayes, The Independent on Nutcracker Sweeties. 

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"Runacre-Temple’s choreography (Kingdom of Back) is playful, but tension thrives, first in a wistful solo that illuminates Nannerl’s haut-monde station in life (Marie Antoinette beehive included) and, later, in sweeping group numbers that lay bare the imperious influence of her father (Javier Torres, sporting a chilly glare). Frank Moon’s characteristically quirky soundtrack is a joy."

Sara Veale, The Observer, November, 2019

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"The innovative choreographer, Morgann Runacre-Temple, came up with the idea of articulating the fingers for piano as motifs to convey the personalities of the playful young woman and her imposing father... a lovely and airy piece, and a great display for a subtle narrative." 

Philip Tunstall, Dance Europe on Kingdom of Back

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"Most successful in terms of creating its own unique world is Morgann Runacre-Temple’s The Kingdom of Back, inspired by Mozart’s sister Nannerl, her wunderkind brother and stern, exacting father (“After God comes Papa,” says the voiceover). It has a curious, mischievous, dreamy spirit – she opens with the doo-be-doo sound of the Swingle Singers rather than a conventional Mozart recording. In relatively simple movement language, Runacre-Temple captures the playful, loving, occasionally jealous relationship between older sister and young prodigy..."

Lyndsey Windship, The Guardian

"Runacre-Temple taps into a zeitgeist so many other ballet companies desperately want to access right now, making relevant what is often seen as an elitist art form while still honouring its roots.​......Runacre-Temple understands this image appeals to more than just little girls who want to grow up to be dancing princesses, or moneyed audiences who have done so. This sense of wanting to know the person behind the persona on stage is as common now as asking for a daughter’s hand in marriage was in Shakespeare’s time. Runacre- Temple gets it, and Ballet Ireland fortuitously has gotten a head start on discovering and nurturing her talent."

The Irish Times on Romeo and Juliet

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"The movement is beautifully differentiated with her cool blond, hauteur slowly allowing more until they circle the room in a hot and edgy duet – not smutty but my goodness it smoulders."

Bruce Marriott, DANCETABS