“Unique, bizarre, and utterly enthralling, Forklift defies definition. It’s kind of circus, kind of contemporary theatre, kind of dance… and yet none of these things. The piece is all that is feminism, with strong, powerful, changeable women completely in control of their art.”

Tania Herbert, Theatre Press 2014

“Throughout her career, Kate has searched to identify, understand and interpret vital social and cultural issues at work in contemporary Australian life. She reflects and responds to those observations and experiences and applies her unique creative talents to conceive live performance experiences of integrity and impact. Her works are intelligent and thoughtful and characteristically infused with a freshness and irreverence, which invite the audience to fully engage with the performers and their narratives”.

Josephine Ridge, Artistic Director Luminato Festival, Toronto, Ontario, Canada

“Denborough is delightful in Flesh and Bone, bringing charisma and nuance to her role, as well as control and beautiful technique”

Jordan Beth Vincent. DanceTabs, 2013

“This is theatre that matters, theatre with soul, and theatre with purpose and meaning - a bold, challenging work.” ***** 5 stars

Jessi Lewis, Melbourne. Arts. Fashion, 2014

"They had me with my heart in my mouth as two of them moved from one impossible pose to another, balancing, dangling and wrapping themselves around the forklift…powerful, perhaps outrageous contemporary dance movement. Each performer often seemed as robust as the machine and it was only that we knew they were human beings that the tension gathered strength and settled inside us as audience members."

Michelle Potter, On Dancing, 19/1/14

"The performers were all terrific, athletic and subtle….Out of Earshot is a rich collaboration between the hearing and Deaf, the visual and tactile and the emotions of being human.”

Dance Australia, 2017

“Sundowner, by KAGE, will be a conversation starter and tear-jerker for many viewers. Director Kate Denborough's use of conventional theatrical conceits succeeds in enhancing Morse's plight and building emotional depth that hits at a gut level.”

Stephanie Glickman. Herald Sun, 2012

“An ambitious and hopeful exploration of very real issues in a theatrical context.”

Alexandra Spring, The Guardian 2014

“Twenty years of working together give Kate Denborough and Gerard Van Dyck of KAGE a fluidity of physical communication where their bodies hum, sing and shout in unison…An unpretentious, witty and memorable work.”

Liza Dezfouli. Artshub, 2013

"It’s a seductive show from director and KAGE co-founder Kate Denborough, distinguished by impressive acrobatics and a hefty presence from a forklift expertly manipulated."

Martin Portus, Stage Whispers, 2014

“Flesh and Bone is acrobatic, occasionally circus-like, with brief but spectacular eruptions of dance…the wonder doesn't ever fade”

Chris Boyd, The Australian 2013

“It’s dance that will make you cry, gasp, and grin: it's Michael Leunig with a huge 'wow' factor”. [Look Right Through Me]

Laneway Magazine, 2011

“KAGE has achieved a profoundly rich production with Headlock. It is physically thrilling, precise and riotously vigorous. The final scene of this stunning production is the most moving theatre experience I have ever had, and I won’t ruin it by describing it. Go see it.”

Melbourne Stage Online, 2006

“KAGE is a knockout – almost literally.

The bizarre, knockabout physicality makes you laugh as it takes your breath away with a frisson of fear: it seems almost too real to be theatre. The neurosis is raw…For originality, content, theatricality and sheer entertainment, KAGE was outstanding.”

Sydney Morning Herald, 1997