After successful runs at the Camden and Edinburgh Fringe Festivals, Scenes from the End returns to London for a run at the Tristan Bates Theatre this December. Tickets are available here.

 

RECENT PRESS: 

“The ten hottest tickets in town” Evening Standard

“extraordinary” Classic FM

INTERVIEWS

Evening Standard interview here

London Live interview here

Resonance FM interview here

Wandsworth Radio interview here

Schmopera interview here

LaLaLa records interview here

Music Musings and Such interview here

REVIEWS

“Scenes From the End. A powerful solo opera performed with precise movement & subtle acting by the virtuosic Héloïse Werner” ★★★★ Fringe Biscuit

“Exceptional and breathtaking” ★★★★★ Mumble

“It really is hairs-on-the-back-of-your-neck stuff, and her wonderfully expressive face means that 45 minutes of operatic singing remains engaging (…) It is undeniable that Werner has immense talent” ★★★★ Edfringe review 

“Werner’s well-supported voice is powerful, it’s quality sweet and clear (…) remarkable vocal range. Impressive too was her agility, switching from a fragmented spoken to sung language.” Thoroughly Good

“Werner moves on to explore so brilliantly the human apathy that we have for our own life (…) putting you at ease with her theatrical charm. (…) wholly eye opening” ★★★★ The Metropolist

“powerful and thought provoking (…) incredibly strong voice, haunting stage presence and overwhelming physicality” A Younger Theatre

“arresting and very powerful” (…) Heloise’s voice has a piercing clarity and depth, one moment beautiful, the next visceral and freighted with distress.” The Cross-Eyed Pianist

“remarkable, with some exquisite acting, singing, speaking and physical theatre” Andrew Benson-Wilson

“This (…) sees Héloïse Werner display extraordinary uses of the human voice with great versatility (…) well-acted, quirky and charming production” ★★★★ London Theatre 1

“Heloise Werner is an extraordinary performer, combining a versatile and powerful operatic voice, with the expressive theatricality of mime and movement. Through fractured fragments of percussional sounds and the words of Shakespeare and Eliot for literary insight, it is the sparse minimalism of this one woman Opera, which creates a pure, profound interpretation of human emotion – the raw sense of grief and loss.” Vivien Devlin

 

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