Endings – Sydney Festival and Arts House, 2015

★★★★ “Extraordinary storytelling, marked not by sadness but awe ... I’d hazard no Australian singer writes more tenderly of death’s place in life’s cycle than Mann and his collaboration on Endings seems more inevitable than serendipitous, yielding some of the show’s most bittersweet motifs ...” Kate Hennessy, The Guardian

“We are not supposed to forget that this is theatre. But in sudden shocks and longer hypnotic passages, we do.” John Clare, The Music Trust

★★★★ “It's not so much about grief or loss as death's strange intimacy.” Rebecca Harkins-Cross, The Sydney Morning Herald

“Endings (rightly) leaves time and space for the audience to bring their own memories and emotions.” Time Out Melbourne


PUBLIC – Big West Festival, 2013

★★★★“Public explores the porous borders between public and private behavior, and is the most sophisticated, not to mention enjoyable, work I’ve seen in this vein since Back to Back’s Small Metal Objects ... Public is an invigorating and profoundly considered work, with a lightness and confidence that stays with you when it ends.” Cameron Woodhead, The Age

“Public is one of the most interesting, unusual and complex shows I’ve seen all year.” Sian Prior, Culture Club

This sort of innovative theatre does not happen often, and this is an intriguing and involving experience.” Dr Kim Edwards, Theatre Press

“PUBLIC was at once truly fun, gently unsettling and ultimately touching in its exploration of our humanity.” Lauren Wambach, Big West Festival Blog

“In PUBLIC, the scripted, performed text is just one element in the complex interplay of performer, ‘source’ and site.” Urszula Dawkins, Realtime


Pin Drop – Arts House, Malthouse Theatre, Cairns Centre for Contemporary Arts, Performance Space, Salamanca Arts Centre, Tramways (UK)

2010, 2011, 2012, 2014

★★★★ “Sometimes, but only very occasionally, theatre makers redefine what’s possible ... One of the most extraordinarily involving and rewarding theatrical experiences. Unforgettable. Go.”  Geoffrey Williams, Stage Whispers

“Tamara Saulwick is a powerhouse performer that drags the audience kicking and screaming. Pin Drop is a tour de force of fear.” Stephen Russell, Time Out Melbourne

“It’s remarkable theatre, executed with an exact brilliance that makes its sensual vividness all the more powerful. This is not to be missed.”  Alison Croggon, Theatre Notes

“Her astute juxtapositions of text and movement, actions and stillness – allied to Peter Knight’s insidiously disquieting soundscape – catch unerringly, at our deepest fears, unleashing the scary ‘what if’s...’ that crowd into our thoughts...” Mary Brennan, The Herald Scotland

“Pin Drop makes the hairs on the back of your neck stand up and might leave you scared of the dark.” Anne-Marie Peard, Aussie Theatre 

★★★★ “Genuinely startling one-woman show.'  Richard Watts, Artshub

“Together she and Knight make a sort of magic that immerses all the senses. Pin Drop packs a visceral punch and leaves behind echoes: the audience telling their own stories in the foyer later.” Allison Browning jemima is not my name blog


Piece for Person and Ghetto Blaster – Arts House, November 2015

★★★★ "NICOLA Gunn’s theatre is tantalising, entertaining, ridiculous and often bewildering in the best possible way. This marvellously eccentric, charming and mischievous performer has created yet another stylish, inventive and startling work...mesmerising and unforgettable." Kate Herbert, Herald Sun

"Comic Genius... Gunn's text is intricate and often brilliant, full of unpredictable digressions and curious factoids. It's the verbal equivalent of skimming stones over water." Cameron Woodhead, The Age

★★★★ "Mordantly witty, and wittily digressive." Owen Richardson, Daily Review                                                                                                                     

"Sometimes there is a work that is so refreshingly provoking that is leaves you in a state of euphoria." James Jackson, Aussie Theatre

"Dizzyingly witty"  Georgia Symons, Arts Hub


A Social Service – Malthouse Theatre, August 2015

★★★★1⁄2 “A Social Service unites an acute sense of the ridiculous with a sophisticated appreciation of the ways art effects social change, for good or ill. Its comic brilliance will have broad appeal, but the intricate engagement with the ethics behind aesthetics make this one show every artist should see.” Cameron Woodhead, The Age

★★★★ It’s not often that a theatre piece is funny, moving, thought provoking and a political call to action, but A Social Service is all of those things... This piece surreptitiously challenges the status quo, compels vigorous, post-show discussion and entertains in that eccentric and idiosyncratic way that only Gunn and Woods can do.” Kate Herbert, Herald Sun

★★★★ The greatest challenge of A Social Service, a collaboration between Nicola Gunn and David Woods, is managing your own high expectations going into it... It’s an engaging, topical and well-executed handling of a subject few Australian theatre-makers would go near on a main stage for fear of didacticism.” Van Badham, The Guardian


Green Screen – MTC NEON Festival, August 2014

★★★★1⁄2 “Green Screen is that rare, perfect creature: a piece that asks you to draw your own conclusions and lets you do just that. It feels like a living, breathing thing. This is hilarious, moving, devastatingly good theatre.” Byron Bache, Herald Sun

★★★★ “Gunn keeps her audience on a knife’s edge between profundity and the ludicrous.”  Rebecca Harkins-Cross, The Age


In Spite of Myself – Melbourne Festival, October 2013

“Gunn possesses, to a profound degree, the ability to suspend contradictory thoughts seamlessly in the same space. At the centre is her riveting performance, which enchants the audience from the moment she appears on stage. If ever an artist manages to have her cake and eat it too, it is Gunn, in spite of herself.” Alison Croggon, ABC Arts Online

★★★★ “What follows is a comic tour de force, a deliciously offbeat blend of physical humour and po-faced ironic monologue that dissects all manner of hideous, navel-gazing theatrical experiments in Gunn's oeuvre.” Cameron Woodhead, The Age

“That she can come up with something like this and avoid any charge of self-indulgence is extraordinary. In Spite of Myself is original, hilarious and moving. Serious silliness. There's nothing else quite like it. She's brilliant.” Liza Dezfouli, Australian Stage

★★★★ “Her comic timing is impeccable, her writing is bizarre and unpredictable, her content often challenging and her parody of performance art ingenious.” Kate Herbert, Herald Sun


Hello my name is – Various National and International Venues 2012, 2013, 2014

★★★★1⁄2 “Mark my words: you’ll leave smiling. Joyous.” Chris Warren, The Herald (Dublin)

“Gunn is astounding... That’s the innate, awkward genius of this production: it reaches into the hearts of those involved and touches something you may not want to acknowledge, or even knew was there. Enter with an open mind, and you’ll leave buzzing with questions and theories not only about the production, but about human interaction on a grander scale.” Aleksia Barron, INPRESS MAGAZINE

“This is an uplifting and effortlessly clever show. Nicola Gunn is an extraordinary comic talent. Someone should throw serious money at her and see what happens.”
Cameron Woodhead, The Age

Wicked good humour.” Peter Crawley, The Irish Time

★★★★1⁄2 ”Gunn remains a witty master of ceremony...Participation was rarely as fun as in Hello my name is.”  Moos van den Broek, Theaterkrant (Rotterdam, NL)

At the Sans Hotel – Various National and International Venues 2010, 2011

★★★★★ “This disturbing, off-kilter monologue is delivered brilliantly by Nicola Gunn, as her performance gleefully jumps the line between genius and madness...ThreeWeeks Edinburgh (UK)

★★★★ “Australian performer Nicola Gunn's performance is rich in imagination, emotional honesty and playful impenetrability...the applause for one of the Fringe's most quietly bravura finales is warm and genuine." The Scotsman (UK)

★★★★1⁄2 “At the Sans Hotel is uniquely structured; its surface fragmentation belies the writing and performer's ingenuity... Is it original, funny, smart, uncomfortable and beautiful? Absolutely.” The Age 

★★★★ In her startling and innovative solo show, At the Sans Hotel, Nicola Gunn shatters theatrical conventions with alacrity and astonishes us with her idiosyncratic blend of humour and pathos.” Herald Sun