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Habibti Driver Bolton Octagon – Fight Direction

“Kaitlin Howard’s fight direction gives us one of the most memorable scenes as tensions between Ashram and Yusuf boil over, leading to an immensely enjoyable physical struggle over Ashram’s cab.”

Lou Steggals, www.northwestend.co.uk, April 2022.

Habibti Driver Bolton Octagon – Fight Direction

“A superbly staged extended fight between Dana Haqjoo and Hemi Yeroham removes any dignity from their characters and reduces the conflict between the brothers to a childish playground spat.”

David Cunningham, The Reviews Hub, April 2022.

Aladdin Oldham Coliseum – Fight Direction

“… a delightfully bonkers stage fight.”

Yakub Qureshi, Manchester Evening News, November 2021.

Aladdin Oldham Coliseum – Fight Direction

“A scene that stood out for me was the end fight scene, it was very well done and you can tell it was crafted by an excellent fight director.”

Bethany Suthers, number9reviews.com, November 2021.

King Lear, Here To There Productions – Fight Direction

“Mark Topping’s Gloucester plays our heart strings. His blinding is a well manoeuvred ensemble event. In this wine bar world, a corkscrew does the trick and wine glasses display the trophies. It’s pretty convincing. You may wish to look away.”

Chris Eldon Lee, Shropshire Event Guide, June 2021.

The Thunder Girls The Quays Theatre, The Lowry – Fight Direction

“Anita, played by Coleen Nolan, doesn’t appear until the of the first act, walking into the dinner to see Chrissie (Carol Harrison) and Roxanne (Beverly Callard) trying to beat the hell out of each other in a spectacularly dramatic and over the top catfight.”

Kelly McFarland, celebmix.com, September 2019.

The Thunder Girls The Quays Theatre, The Lowry – Fight Direction

“With punches thrown, dresses torn and extensions ripped out, the audience are left howling with laughter.”

Daniel Falconer, www.femalefirst.co.uk, September 2019.

Hamlet The Cambridge Shakespeare Festival – Player/Musician/Fight Direction

“Bringing the audience to attention, we have the prelude of Kaitlin on violin, looking simultaneously very cool and very stern […] Kaitlin is also on violin at other times, such as just after the ‘augury’ speech and before the fight commences at the end. She’s one of the Players too and plays two recorders at the same time… just how multi-talented is this lady? Lordy me, she’ll be turning her hand to directing next.”

Andy Muir, www.a-muir.co.uk, July 2019.

All Female Hamlet Hope Mill Theatre, Manchester – Fight Direction

“This is a highly physical production concluding with a very convincing duel.”

David Cunningham, www.britishtheatreguide.info, May 2019.

Macbeth The Epstein Theatre, Liverpool – Lady Macduff/Weird Sister/Fight Direction

“…and there is a powerful portrayal of Lady Macduff by Kaitlin Howard who is also the fight director. Kaitlin has created many stunning, realistic scenes. A highlight is a beheading to behold which would not look out of place in a Hammer Horror film.”

Peter Grant, The Wirral Globe, March 2019.

Macbeth The Epstein Theatre, Liverpool – Lady Macduff/Weird Sister/Fight Direction

“There’s a great trio of Weird Sisters whose prophecies drive the story, and they get their message across with Wagnerian theatricality from behind the murky darkness of a stage gauze, returning periodically to underline the plot.”

Nigel Smith, Good News Liverpool, March 2019.

Macbeth The Epstein Theatre, Liverpool – Lady Macduff/Weird Sister/Fight Direction

“The murder scene was particularly powerful.”

Alison Jones, writebase.co.uk, March 2019.

Macbeth The Epstein Theatre, Liverpool – Lady Macduff/Weird Sister/Fight Direction

“The true climax of the show came in the form of the use of physical drama. Macbeth is a physically strong play, and the use of stage combat cannot be ignored. The cast and production team have truly risen to this and each one of the scenes and fights had me worried that someone might genuinely find themselves hurt because of a metal broadsword.”

Aiden Bungay, number9reviews.com, March 2019.

A Skull in Connemara Oldham Coliseum – Fight Direction

“Fight Choreographer Kaitlin Howard made excellent use of the talented cast, the brawls that broke out consumed the stage with chaos, shockingly authentic but it was evident the actors were in control and safe and it was easy to enjoy the well portrayed violence.”

Kerry Ely, number9reviews.com, February 2019.

Romeo and Juliet Girl Gang Manchester – Fight Direction

“The fights, directed by Kaitlin Howard, are impressively realised and performed with real conviction.”

David Chadderton, www.britishtheatreguide.info, June 2018

Romeo and Juliet Girl Gang Manchester – Fight Direction

“…the fights were well choreographed and outstandingly executed by the cast.”

Sam Lowe, number9reviews.com, June 2018

Romeo and Juliet Girl Gang Manchester – Fight Direction

“This is a vibrant exciting production with Kaitlin Howard’s fight scenes so powerful as to make anyone in the front row a little nervous.”

David Cunningham, The Manchester Theatre Awards, June 2018

D’Eon The Straight Acting Theatre Company – The Chevalier d’Eon de Beaumont

“Crucially, though, it’s emotion that really holds a complex and puzzling story together, largely thanks to the astonishing Kaitlin Howard, who totally owns a quicksilver role that may yet become a new definition for “challenging”.”

Kevin Bourke, The Manchester Theatre Awards, February 2018

D’Eon The Straight Acting Theatre Company – The Chevalier d’Eon de Beaumont

“…the production is dominated by a stunning performance from Kaitlin Howard who makes D’Eon an amazing and contrary character – sophisticated but crude, a loyal servant but greedy to the point of corruption and hard as nails but terribly hurt by the slights he/she endured from the government he/she served so well. The sheer physical effort involved in never leaving the stage and performing duels as well must not be overlooked.”

David Cunningham, The Manchester Theatre Awards, February 2018

D’Eon The Straight Acting Theatre Company – The Chevalier d’Eon de Beaumont

“In D’Eon, Krupinski has sculpted a deliciously juicy and incredibly challenging female role which Kaitlin Howard seizes with both hands. Commanding the stage for the entire two-hour running time, she is utterly convincing in her portrayal, whether hallucinating within the sickly D’Eon’s living hell, viciously slaying oncoming Prussian soldiers, teasing Holstead’s painfully shy Thomas, or bartering for her recognition, Howard is always magnificently watchable, charting the character’s journey effortlessly and movingly. The light, pleasingly back-and-forth chemistry with Holstead allows the audience to relax into the rather dense but pacy first act and establishes their growing relationship. But superb as she is, this is not just a solo effort, Howard being supported by what is surely the tightest, brightest, and most versatile ensemble in town.”

Amy Brushfield, www.flaneur.me.com, February 2018

D’Eon The Straight Acting Theatre Company – The Chevalier d’Eon de Beaumont

“Kaitlin Howard who plays D’Eon is on stage throughout the entire two and a half hour production. She is absolutely superb in the lead role and delivers lots of light and shade to the character – she made us feel sad when D’Eon was sad and happy when D’Eon was happy. Not only that but she had a lot of choreography and stage fighting to contend with too, which she pulled off with ease.”

Brian Madden, www.northwestend.co.uk, February 2018

D’Eon The Straight Acting Theatre Company – The Chevalier d’Eon de Beaumont

“The whole play revolves around a very impressive and powerful central performance by Howard.”

David Chadderton, www.britishtheatreguide.info, February 2018

D’Eon The Straight Acting Theatre Company – The Chevalier d’Eon de Beaumont

“Kaitlin Howard’s performance as D’Eon is captivating, we are left hanging on her every word […] The chemistry between Howard and William Holstead (who plays Thomas Plummer) is nothing short of electric. Her strength and charisma played against his fear, awkwardness and warmth, whilst delivering a lyrical and straight-talking script keeps this story moving purposefully through what could easily have been a stodgy piece of history.”

Charlotte Maxwell, www.afronalysis.com, February 2018

The Merry Wives of Windsor The Cambridge Shakespeare Festival – Mistress Ford

“Kaitlin Howard invests the initially downcast Mistress Ford with a hearty spirit, wicked sense of humour and mischievous twinkle in her eye – her scenes with Adam Elms [as Falstaff] as they dance round each other are a joy to behold.”

Will Leeman, www.flaneur.me.com, August 2017

The Merry Wives of Windsor The Cambridge Shakespeare Festival – Mistress Ford

“Falstaff’s double act with Mistress Ford, played by Kaitlin Howard, was just fabulous. They had a tremendous onstage chemistry, and the audience was in hysterics at it. […] If you saw Kaitlin play The Countess in All’s Well That Ends Well in the first half of the Festival then you will not be surprised to hear her Mistress Ford comes with dignity, control and more than a little humour but also, at the end, with quite a lot of love. I mentioned that her interactions with Adam Elms as Falstaff were just electrifying, they really were quite something together, it was almost unbearable how good they were together. […] I could talk of Adam Elms and Kaitlin Howard all night, they were both magnificent.”

Andy Muir, Shakespeare In Cambridge Review (audio transcription), August 2017

King Lear The Cambridge Shakespeare Festival – Fight Direction

“Regan, with Cornwall, has the dubious honour of the scene where they put out Gloucester’s eyes; always one of the most painful things to watch in Shakespeare. It’s just an horrific moment. Gloucester’s back was to us, thankfully, but the eye scene was gripping and horrific in another sense by the sheer effort that it took Cornwall to get the eyes out, then the display of the long trailing bits behind the eye… it really makes you shudder. […] I’m struggling for adjectives because the scene was very effective, but something most of us would rather never see!”

Andy Muir, Shakespeare In Cambridge Review (audio transcription), August 2017

All’s Well That Ends Well The Cambridge Shakespeare Festival – The Countess/Fight Direction

“Bertram’s mother was magnificent […] The interchanges between Helena and The Countess at the beginning were sparkling, and they worked together very well. They really seemed how I imagined Helena and The Countess to be and now I simply cannot imagine any one else playing those characters. I saw a production some years ago at The Globe and for the life of me cannot remember what the The Countess looked like; when I think of The Countess I will now always just think of Kaitlin.”

Andy Muir, Shakespeare In Cambridge Review (audio transcription), July 2017

The Trial People Zoo – Fight Direction

“Titorelli will only disclose information about the court if K. beats the three girls, one for each type of acquittal. After all, reasons Titorelli, if K. is innocent he will do anything to escape the court’s clutches. It is one of the most disturbing and powerful scenes I have seen on stage for some time. Titorelli jovial, the girls begging for mercy and K. crying as he continues to beat them.”

Tristan Burke, The Manchester Review, January 2017

Treasure Island Birmingham Rep – Joan The Goat

“For all their murderousness, Silver’s crew are largely comical, though […] Kaitlin Howard cuts a rather tragic figure as a brain-damaged Joan the Goat with a pot lid fused to her skull, perpertually tormented by the noises in her head.”

Heather Kincaid, What’s On, November 2016

The Trial People Zoo – Fight Direction

“…the stage combat is particularly assured […] The scene in which K is instructed to beat three teenage girls in order to prove his innocence is particularly chilling.”

Philip Caveney, www.bouquetsbrickbatsreviews.com, August 2016

The Trial People Zoo – Fight Direction

“…there are plenty of scenes of […] physical torture, abuse and the odd bit of strangulation thrown in for good measure. A very large knife adds to the frightening and disturbing climax to this amazing theatrical presentation.”

David Chriscole, July 2016

The Trial People Zoo – Fight Direction

“It is a very physical production and, again, the mood switches from humour towards fear as clownish fight scenes lose their cartoon aspect and become realistically disturbing depictions of abuse.”

David Cunningham, The Manchester Theatre Awards, July 2016

Welcome To Thebes Manchester School of Theatre – Fight Direction

“During a deadlock in which lots of different people were holding many others at gun point there was a real sense of threat in the air, something quite hard to achieve and expertly done.”

Charlotte Green, www.northwestend.co.uk, February 2016

Mother Goose Oldham Coliseum – Fairy Feathers

“Kaitlin Howard as Fairy Feathers brings out the comic aspects of her role to great acclaim.”

Brenda Kean, www.theatre-reviews.co.uk, November 2015

The Alphabet Girl Moxie Under Fire – The Winners

“…this one-woman, one-hour, all-emotion tour de force […] is performed by local actress Kaitlin Howard — usually a regular in the Coliseum’s famous pantomimes, and here stretching her acting muscles to the limit. The play has been around for a while and has already won several awards, including Manchester Theatre Awards and Manchester Fringe trophies. […] Howard makes three convincingly different women; outwardly bright and businesslike, seemingly sex-obsessed Lily; randy and uncaring Maisie and utterly misplaced Ivy, for whom getting back to some sort of track would be something of a miracle […] this is entertaining material, delivered with power and energy.”

Paul Genty, The Oldham Chronicle, September 2015

The Alphabet Girl Moxie Under Fire – The Winners

“This monologue play by Renny Krupinski serves as an excellent showcase for actress Kaitlin Howard while offering a good share of character insights, surprises and comedy as well […] It’s a slight piece, but one full enough of surprises to keep you always alert and entertained, with the added pleasure of watching Kaitlin Howard’s expressive range as an actress.”

Gerald Berkowitz, www.theatreguide.london, August 2015

The Alphabet Girl Moxie Under Fire – The Winners

“In this one woman play [Kaitlin Howard] produces an astonishing performance. […] this is an interesting play with great acting and well worth checking out.”

Dave Cox, Darkchat, August 2015

The Alphabet Girl Moxie Under Fire – The Winners

“Kaitlin Howard puts on a good performance, switching between the characters with minimalistic costume changes. Her stand-out role would be that of the middle generation, playing the thoroughly screwed-over mother and daughter superbly. Her anxiety and haughtiness contrast nicely with the grandmother’s Cockney roots and the daughter’s peppy attitude when recounting the family history. Howard works well to jump between the three different monologues.”

Louise Jones, Broadway Baby, August 2015

The Alphabet Girl Moxie Under Fire – The Winners

“Actor Kaitlin Howard is great, portraying each character as convincingly rounded.”

Gemma Scott, ThreeWeeks, August 2015

The Alphabet Girl Moxie Under Fire – The Winners

“Kaitlin Howard is a brave, subtle and versatile actor – she plays all three characters with conviction. First on stage is Ivy who appears naive and wide-eyed, talking into a camera mounted on a tripod, she describes her mother and grandmother. A leopard print faux fur jacket later and Howard transforms into grandmother Maisie – her face hardened and her hands shaking, ravaged by drink and bitterness. A particular highlight is Lily, a well-spoken and deeply intimidating character who addresses the audience directly and holds their gaze for slightly longer than is comfortable. And it is through this that Howard succeeds in creating a chilling, mysterious and heightened theatrical experience”

Kristy Stott, Upstaged Manchester, August 2015

The Alphabet Girl Moxie Under Fire – The Winners

“Kaitlin Howard delivers a bravura performance in a difficult series of roles.”

Kevin Bourke, The Manchester Theatre Awards, September 2014

The Alphabet Girl Moxie Under Fire – The Winners

“We have one performer, Kaitlin Howard, taking on the three roles of Grandmother, Mother, and Daughter […] a considerable challenge for Howard who […] smoothly takes charge of all three. […] Not every actor would or could take on these demands. […] However we should consider no fellow cast members for back-up, few costume changes for character, and no interval for respite. Kaitlin Howard bravely copes with it all.”

Diana Stenson, The Manchester Theatre Awards, September 2014

The Alphabet Girl Moxie Under Fire – The Winners

“Kaitlin Howard gives a remarkable performance creating three very different characters. The rather gushing and somewhat naïve Ivy gives way to the embittered Maisy whose love life is described as never getting above tepid yet who regarded her courtship as the happiest days of her life. Lily is a particular triumph; Howard adopts an accent that shows no trace of her humble origins and makes Lily’s defensive use of her body and brittle nature frightening rather than eccentric. The characters draw sympathy being depicted sharing the urge to escape, whether from a squalid home life or an inappropriate sexuality, but Howard ensures that the sneaky and sly self-justification of the deceiver is also apparent […] a powerful play with a superb central performance.”

David Cunningham, The Manchester Theatre Awards, September 2014

The Carlton Colliers Badapple Theatre – Nina/Fight Direction

“What it has immediately to its advantage is a cast familiar with each other from Gold Tops duty and consequently able to steer to calm waters through complete confidence in each other […] Nuggety northern humour, the borrowed football sayings (courtesy of the likes of Bill Shankly) and love in its myriad forms are delivered in typically enjoyable performances by Angell, Brooks and Howard, in particular.”

Charles Hutchinson, The York Press, November 2013

Lights Out Land Girls! Badapple Theatre – Biddy

“…cheeky Scouser Buff and and no-nonsense, strapping Yorkshire lass Biddy, are a sort of double act, such is the instant rapport of company newcomer Zoe Land and the returning Kaitlin Howard. Their scene on a bike, bumping across the Yorkshire landscape, is an immediate classic.”

Charles Hutchinson, The York Press, April 2013

Eddie and The Gold Tops Badapple Theatre – Marion/Lilly/Camille/Lindsey/Velda

“The cast of three performers show great talent, versatility and stamina in playing all of the roles, particularly as all are also required to sing […] Kaitlin Howard plays Edwin’s girlfriend Marion along with several other contrasting roles and is able to show off her vocals in several standout numbers.”

Mark Clegg, www.thepublicreviews.com, October 2012

Oliver Twist Ribcaged Productions – Choreographer/
Fight Direction

“Choreographer and Fight Co-ordinator Kaitlin Howard deserves a special mention, as do the cast involved […], as the fight and other action scenes were very realistic. The scene where Fagin instructs his young charges in scarf stealing was particularly entertaining.”

Fiona Finch, Clitheroe Advertiser & Times. Longridge and Ribble Valley News. October 2011

The Newark Passion 2B Theatre – Domino/Fight Direction

“Wow. That one word sums up the stunning piece of theatre that was The Newark Passion […] the fight in the garden and Jesus being hit was wonderfully staged – well done to the choreographer.”

J. McConnell, Newark Advertiser, April 2011

BARE BareBack Theatre – Val/Chrissie/Blythe/Fight Captain

“There are strong performances from Paul Michael Giblin as the honourable young man with only one way to support his family and Kaitlin Howard doing more than you might expect with the Adrian role of the fighter’s wife.”

Gerald Berkowitz, The Stage, August 2010

King Lear 2B Theatre – Regan/Fight Direction

“The fights are brilliantly done and the scene where Cornwall (Gary Keane) plucks out Gloucester’s (David Hawley) eye and Regan (Kaitlin Howard) sticks a lighted fag in the other is a joy.”

Alan Geary, Nottingham Evening Post, February 2009

King Lear 2B Theatre – Regan/Fight Direction

“Kaitlin Howard was an excellent Regan.”

Adrian Bhagat, Left Lion, February 2009

Les Misérables le Panto! Oddsocks Productions – Enjolras/Sister Simplice/Fight Director

“The fight scenes, choreographed by Kaitlin Howard, were stunning.”

Julia Pattison, The Pocklington Post, December 2008

Much Ado About Nothing Oddsocks Productions – Beatrice/Dogberry/Fight Direction

“Beatrice and Benedick, the bickering pair of not-yet-lovers, were played by Kaitlin Howard and Phil Yarrow and their dialogue was just as slick and barbed as it should be.”

Deborah Soper, The Guernsey Press, August 2008

Much Ado About Nothing Oddsocks Productions – Beatrice/Dogberry/Fight Direction

“This was a madcap and hilarious romp through one of Shakespeare’s much loved plays. The cast were witty and engaged the audience with their seemingly “off the cuff banter” and made the play totally accessible to all watching […] The performance of Yarrow and Howard arguing and exchanging insults was one of the many highlights of this unique production.”

Mark Edwards, Harrogate Advertiser, August 2008

Much Ado About Nothing Oddsocks Productions – Beatrice/Dogberry/Fight Direction

“We were presented with a very fine Beatrice and Benedick, as good as any I’ve seen on posher stages in recent years. Kaitlin Howard was a finely spoken and feisty Beatrice with a beautiful singing voice and a clear grasp of martial arts.”

Peter Lewis, The Hexham Courant, July 2008

Echoes From One to Another Rudi Arapahoe [Label – Symbolic Interaction] – Spoken Vocals

“The fleeting elfin-chanteuse vocals of Kaitlin Howard only add to the mystique surrounding this release.”

Michael Henaghan, AngryApe, June 2008

Killer Joe The Comedian’s Theatre Company – Fight Direction

“Following a shockingly realistic beating comes the bloodbath that makes Hamlet look like a vicarage tea party.”

Victor Hallett, OnstageScotland, August 2007