Press for 'The Hunchback of Notre Dame' at St Paul's Church, Covent Garden, Iris Theatre.


'Katie Tranter regularly stole the show as love-lorn poet Pierre, proud Fleur de Lys and a judgmental court each and every role she was eminently watchable and very, very funny'

London Theatre 1


'Katie Tranter has a genius for comedy, and an ability to really get the audience on her side....Her rather inept and earnest Pierre is one of the standout performances of the evening; hilarious, sweet and endearing'

Spy in the Stalls 

'Katie Tranter is absolutely hilarious at the loyal Pierre'

Love London Love Culture 

'Katie Tranter does a standout performance with a seamless differentiation between characters along with excellent comic timing. 

Everything Theatre 

'A real mention though, has to go to Katie Tranter whose comic timing was perfect and stole the show. She played the roles of Pierre, a nervous and utterly disastrous poet, the spoiled princess Fleur de Lys, and even stood out in the small role of court room judge. She was a delight to watch and had the entire audience in stitches throughout'.

Musical Theatre Musings 

'Particular mention goes out to Katie Tranter who played Pierre Gringoire and Fleur-de-Lys (amongst others). Her comedic skills were second to none, always engaging with the audience and you could hear every word in a very difficult acoustic. For me the true stand out performance.' 

Pocket Size Theatre

'Katie Tranter undertakes some gender changes with complete credibility'

London Living Large 

'There's good support through the hard working cast with Katie Tranter getting most of the comic relief/fourth wall breaking stuff as a zealous lawyer and hopeless ballardier...these comic interludes are welcome'

Broadway World

'Out of the six players, there were two that completely stood out. Both Rhodes and Tranter projected comedy into their roles to help keep the lighted hearted family friendly re-telling of this story in the forefront. They also excelled in the immersive aspects of this production. This immersion included getting audience members to move swiftly between scenes, while still engaging with them to keep the flow of the production, as well as getting the audience involved with certain aspects of the production as a whole. Tranter and Rhodes also stood out because they had excellent vocal projection, allowing the audience to hear the dialogue at all times, despite the production taking place outside next to the very noisy Covent Garden'.

London Theatre Reviews 



'Katie Tranter is good fun as Goldilocks...a captivating production'

Miriam Gillinson, The Guardian (four star review) on Goldilocks and the Three Bears at Derby Theatre

"Katie Tranter has a commanding presence and stands out" 

Callum Costello, NARC magazine on Canary at Gosforth Civic Theatre, Newcastle. 



"You will not be able to take your eyes off these three talented performers, and you will certainly leave with your eyes open to a wonderful snippet of history and your cheeks aching from all the laughter. It would be utterly mad not to grab a ticket to this show!"

Lauren Russell, Theatre Box on Canary at Circomedia, Bristol. FULL REVIEW


"The key element in the success of Front Room’s A Christmas Carol is the commitment of the ensemble. Notably, Olivia Race and Alice Barber have brought together a posse of talented and versatile young women, playing musical instruments, appearing as ghosts, singing a cappella carols, turning into charity collectors or jolly party-goers and making sure the audience doesn’t get lost." 

Ron Simpson, Reviews Hub on A Christmas Carol, Front Room Productions FULL REVIEW


"Harvey and Tranter are brilliant at immersing themselves in the spirit of play, yet also adapting and responding to an unpredictable and excited audience of 2-6 year olds." 

Charlotte Broadbent, The Public Reviews on Inside Out, Tell Tale Hearts. FULL REVIEW. 


"An exceptional performance from Katie Tranter"

Helen Brown, Northern Echo on Cuddy & His Mates, Jack Drum Arts/Mad Alice Theatre. FULL REVIEW.


"There’s a good feeling of ensemble playing, the players are all evenly matched, no huge ego can trample over others, so often seen elsewhere. It comes as a pleasant surprise to realise that these actors are using their natural voices, no faking with body-mikes for them. The singing is clear and in particular the lovely blend of voices of Amber and Willow Goodnight (Katie Tranter & Sarah Kearsley) is well matched. They both play more musical instruments than is good for them, and can dance and act, too."

Stephanie Preacher, York Press, Babes in the Wood at the Georgian Theatre Royal. 



Tony Lidington and his friends have put together a show worthy of the Georgian Theatre Royal but it is certainly not a museum piece. They have, if anything, taken pantomime forward and shown how the genre can be developed. Their show is wildly, ceaselessly entertaining but, most importantly, a thing of considerable beauty.

Kevin Berry, The Stage, Sinbad at the Georgian Theatre Royal. FULL REVIEW. 

"The acting is superb, with a standout performance from Katie Tranter making her professional debut as Dora/Cassie. The scene in which Gertie attempts to explain to the naive Dora how a lost baby isnt simply mislaid but gone forever is poignant and powerful."

Belinda Dillon, Devon Life,  Serendip at The Bike Shed Theatre. FULL REVIEW. 

"Katie Tranter in her first live-theatre role (having appeared only on television, in BBC 2's The Edwardian Farm) sustains astounding focus, both as simple Dora and as street wise Cassie. This actor reeks of professional attitude and draws audience sympathy as magnets draw iron, whether playing vulnerable or feisty. An exciting start to what ought to be a glittering career – if cut-backs do not forbid."

Arthur Duncan, Remote Goat, Serendip at The Bike Shed Theatre. FULL REVIEW


Katie Tranter


Theatre Maker

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