'He's then joined by Lauren Cuthbertson's sliver-of-nothing cipher for Galatea for a dance duet of such refinement and delicate craft that it makesyou hold your breath for fear of it blowing away. Silvery beaten feet, slippery concaved and convexed spines and falls controlled by the tender cupping of a face are just a few of the features in a stream of delicious invention that flows like water, utterly unforced.'
Jenny Gilbert, Sunday Independent
Acis and Galetea, 5 April 2009
‘Cuthbertson makes Nikiya gentle and dreamy - you can even sense in the early scenes the “shade” Nikiya will become - and her adagio dancing wassmooth, controlled and beautifully flowing.’
Jonathan Gray, The Dancing Times
La Bayadere, March 2009
'Lauren Cuthbertson…is flirty and effervescent, her dancing….seemingly buoyed on a new sense of self.'
Luke Jennings, The Observer
Dances at a Gathering, 25 May 2008
'Cuthbertson is a strong dancer, who is capable of a clear line and neat footwork. What was so striking in the first act was the use of her arms and particularly her outstretched fingers, fluttering backwards to create the sense of a trapped bird... In the third act, when Cuthbertson transformed herself into Odile, her technical prowess showed most strongly in the 32 fouettés for which she whipped her body round while standing on one leg. Exceptionally, Cuthbertson started with multiple fouettés and although her body moved across the stage slightly, it was a glorious feat that provoked great applause.'
Rosalind Erskine, The Independent
Swan Lake, 23 May 2007
'…it's Lauren Cuthbertson's Russian Girl who is the revelation. Flying across the stage with her long hair unbound, Cuthbertson defies the score’s warning notes, holding time and destiny at bay, through sheer exuberance. Magic and a deserved ovation.'
Luke Jennings, The Observer
Serenade, 27 April 2007
'Her poise and confidence grew with every step; so, too, the beauty of each elegantly clarified movement. Her Vision Scene was dreamy in shape and musical awareness, and in the Grand Pas de Deux she grew up before our eyes. As Covent Garden debuts go, it was hugely impressive.'
Debra Craine, The Times
The Sleeping Beauty, 3 November 2006
'The stand-out solo, however, comes from Lauren Cuthbertson, who adds welcome verve – a touch of mischief here, a sweep of flamenco-style panache there – to her very musical dancing.'
Lyndsey Winship, The Stage
Dances at a Gathering, 29 May 2006
'…one of the most independent readings of Aurora I have ever seen. The key is partly her musical boldness, as she uses the underlying romanticism of Tchaikovsky’s score to push her dancing to impetuously full stretch, and partly her instinct for dramatic shape, as she articulates the crescent curves and glittering shafts of the Vision scene with vivid clarity.'
Judith Mackrell, The Guardian
The Sleeping Beauty, 3 November 2006
'Summer Fairy Lauren Cuthbertson dancing with mature phrasing and rich awareness… are nothing short of elegant.'
Ruth Leon, Bloomberg News
Cinderella, 8 December 2004
'Cuthbertson... a dancer of impressive strength and energy.'
Debra Craine, The Times
14 April 2004
'An added delight was to see Lauren Cuthbertson, still very young, in Agon's second trio and in the adagio of Symphony in C. She is gifted, assured, shaping dance with elegant musicality. But there are moments – phrases closing with unhurried grace; steps opened out to the air; a serenity in adagio – that tell of something grander, vastly promising. An Aurora, an Odette/Odile, on the noblest scale, seem there for the not-too-distant future. Time and her teachers, will tell, but I’m prepared to lay a small bet!'
Clement Crisp, Financial Times
Symphony in C, 30 January 2004