~ STAGE PRESS ~
‘Reid invests his whole show with an air of resonant quality. Whether speaking, singing or acting in character, he's a classy performer whose deep, rich voice and world-weary expressions you'll carry for a long time afterwards.’
The Scotsman (UK)
'They perform as if broadcasting from their own special world or some elaborate nightmare... Powerful stories in a powerful setting driven by powerful songs.'
Thomas Madden (AUS)
‘The group’s earlier work, Four Rogues was selected for development and presentation in the 2008 Next Wave Festival… we worked closely with Pete and his team on the work’s creative and logistical development and have been impressed at every stage by the group’s playful, incisive and intelligent approach to performance and music-making.’
Fiona Maxwell, former general manager, Next Wave Festival (AUS)
'Reid has the voice, the charisma and theatricality for telling tales. But his stories might more accurately be regarded as fragments, brief glimpses of people on the edge – of the world, of sanity, of emotion...
With elements of comedy, theatre, storytelling, cabaret, live music and puppetry, this is a wee gem of a show for anyone wanting something a bit different'
Edinburgh Spotlight (UK)
'The stories had the grandeur, larger-than-life-likeness, and absurdity of fairytales....
One of the things I enjoyed about Pete’s performance, from which comedians could learn, was how much he trusted his audience. He confidently gave his best, and just as confidently expected people to meet him halfway. The manner in which he did this showed respect for the audience’s intelligence and imagination...
I am so glad I had the opportunity to see Postcards from the Edge of the World. I look forward to seeing more from Pete Reid'
Katherine Phelps (AUS)
‘I think the work Pete and the Tar Gang are creating is at the forefront of musical, vaudeville, cabaret storytelling – having an ability to bring together a real hybrid of forms and create hypnotic work’
Sunita Pandaya, Creative Producer (UK)
'Fascinating'
Michael Dwyer, The Age (Aus)