RealTime October 2008
"...Both Borderlines and Tarkovsky’s Horse rely on sound composition (and Tarkovsky’s Horse also on video) to explicate the textures that performer bodies present. In Tarkovsky’s Horse, Natasha Anderson uses the echolalia of computerised bubbles to evoke a mindstate of nostalgic lightness. The bubbles fizz, pop and turn into a gurgling percussive rumble that is overwhelmed by a loose viola slipping and sliding down chords."
Bryoni Trezise

Daily Telegraph November 2007
"...one of the most haunting and captivating dance performances I have ever encountered."
Shoba Rao

Australian Stage November 2007
"... none that I’ve been to has been quite as impressive as The Stirring, the latest work from the De Quincey Co. Tess de Quincey and her fellow dancers and artists have created an atmospheric, haunting and beguiling work that engages closely with the site ... Installations, sound, dance and interactive pieces interact with the space, forming a mise-en-scène of site-specific art that is at once disturbing and intriguing ...This is a beautiful and unusual work, with excellent performances by the five dancers and some wonderful visual art as well. The industrial moods of the space carry through to the art, carried by the ghostly echoic associations of the old train sheds. The Stirring is a kind of sensual history exhibition, tapping into not only the industrial past of the space, but also something more ancient in the soul."
Tessa Needham

Sydney Morning Herald 31 March 2008
“Natasha Anderson’s sound design, especially the popping light globes and sparks, underscores the fractured reality and shocks”
Bryce Hallett

The Australian 31 March 2008
“Excellent sound by Natasha Anderson punctuates Nevin’s performance with revelatory force, especially when the vortex effect cuts in. This is not a comfortable show, but it is very powerful.”
John McCallum

Stage Noise March 2008 "Composer and sound designer Natasha Anderson adds scenic punctuation that sounds like the rhythmic hiss of high-tech medical equipment, blood rushing in veins, the wind, the ocean (a recurring theme for Didion, a one-time Malibu resident), neuro-surgery, oxygen tubes. Life and death. And all the while, Nevin/Didion tracks the truth, the facts, the causes and contributors to her situation...The Year of Magical Thinking is not so much a play as a testament to the power of laughter, intelligence, courage and love. As such it is one of the most uplifting and, dare I say it, entertaining 90 minutes of Life ever seen on a Sydney stage.