Press & reviews

Interviews & features


“[T]avern keeper Thénardier was energetically performed by David Stephens and his mocking wife chillingly reprised by production director Caroline Taylor… While the Marionettes’ decision to present what has been London’s longest running musical (first performed in 1985) was probably based on artistic challenge and as a suitable follow-up to the equally ambitious 2011 production of Bizet’s Carmen [also co-directed by Taylor], Hugo’s original intentions for Les Miz and his social consciousness make it even more relevant to contemporary Trinidad… Those who choose to miss this opportunity of revelling in a Caribbean premiere, an excellent stage production delivered with such panache and talent, are indeed miserable.”

Simon Lee, Trinidad & Tobago Guardian, 17 July, 2014

“[T]his was an excellent production from the singing to the acting to the stage setting … The stage setting was very good, especially in the uprising scenes, and the costumes and the lighting too. It was good to hear a real orchestra providing the music… [Gretta and Caroline Taylor and their] able assistants are to be congratulated for tackling this mammoth production and well deserved standing ovation as they took their bows as the last note died away. Les Misérables was indeed a most memorable event in the music diary of TT 2014.”

– Anne Hilton, Trinidad & Tobago Newsday, 19 July, 2014

“No doubt our bittersweet TnT has been calling for this balm to salve our wounds and the Marionettes Chorale under the artistic directorship of Caroline Taylor has very ambitiously provided the balm to assuage our national woes in bringing this epic novel to life in this wonderful musical production that is bound to bring comfort in troubled times. Taylor has undoubtedly created a masterpiece of theatre on Trinidad soil that shall live in the memories of those audiences who attended… Madame Thenardier is most ably played by the director herself, Caroline Taylor… her role as Madame Thenardier was colourful and fresh bringing comedic relief to a most intricate operetta.”

Sonja GopeesinghLuckhoo, Trinidad & Tobago Express, 16 July, 2014

“Taylor is excellent as Marlon Lucky’s wife Anna. She succeeds in capturing the time worn perception of “convent girls” being naive and steeped in the religious mores of Catholicism, but is fortified by her outspoken and brash maid, also presented as a stereotype of a street smart menial worker from Laventille. In her role, Taylor has raised her hand to be a worthy contender for the Best Actress figurine in this year’s Cacique Awards.”

Peter Ray Blood, Trinidad & Tobago Guardian, 8 June, 2013

“The joyous response of the packed out auditorium to the telling of the story in the operatic form must indicate that the production was very good. The staging and acting, the voices, the costumes and sets were excellent…but what [directors Gretta and Caroline] Taylor managed to do was to get the audience to engage in a very visceral way with a text written in the 1870s. [They were] able to bring out the elements of comic relief that every great tragedy contains in a way that a Trini audience would appreciate. Carmen is one of the most popular operas because the music is delightful, but also the theme is timeless and universal. That its performance could excite an audience in 21st century Trinidad, as it was intended to the 19th century’s, is a commendation to the composer, Georges Bizet, and to the directors. Bravo!”

– Marina Salandy Brown, Trinidad & Tobago Newsday, 21 July, 2011

“You go to a conference and you just know who some people are. You’ve seen them online, in the paper or on the television. They’re the ones everyone wants to speak with. You know what they do and what they’re affiliated with. They’re people like Karel McIntosh, Caroline Taylor and Danielle Jones.”

– Sherwin RamnarineCaribbean Internet Marketing Blog, 23 November, 2011

“Caroline Taylor brings to the stage a refinement that ensured that she was not overpowered by the veterans of the cast. Her portrayal of Anna was powerful, and her subtle ownership of the stage, and especially of long silences, was spell-binding.”

Guyanne Wilson, Trinidad & Tobago Catholic News, 15 February, 2009

“The writing is intelligent, engaging, and well-structured… Many of the anecdotes are compelling, moving, and funny… [Caroline] Taylor is extremely likable, the performance is intimate and conversational, and…showcases the talents of a passionate and intelligent young writer, who has some considerable performance chops.”

Tomi Tsunoda, NY Theatre, 18 August, 2006

“The highlight of the evening was ‘Adelaide’s Lament’ from ‘Guys and Dolls’, sung by [Caroline Taylor]. A really brilliant performance, and very well executed. I personally think that girl has places to go.”

Wayne Berkeley (Trinidad & Tobago Hummingbird Medal, Gold), Carnival, set & costume designer, 11 July, 2003

“[Caroline] Taylor was downright hilarious when Party Done for the Freak Next Door premiered last weekend at Queen’s Hall, St Ann’s… Portraying the ditzy Pauline, wife of “village ram” Ron (Goindhan), Taylor was given some really funny lines…”

— Peter Ray Blood, Trinidad & Tobago Guardian, 6 March, 2015

“Every detail of the setting is realistic and does not feel staged in any way. [Directors Gretta and Caroline Taylor] didn’t miss a beat or a detail in this timeless production.”

– Kalifa Clyne, Trinidad & Tobago Guardian, 13 July, 2011

“[Caroline Taylor’ played Sandra with] intoxicating beauty and her flirtatious attitude.”

– Kevon FelmineTrinidad & Tobago Guardian, 13 June, 2011

“[G]iving a good account of herself was [Caroline] Taylor, whose performance as an alcoholic, slightly off-her-rocker journalist was really great.”

Wayne Bowman, Trinidad & Tobago Express, 6 April, 2011

“Caroline Taylor is absolutely at ease on the stage. She captivates her audience completely with her singing, dancing, and movement. Every time I see her, she gets better.”

Jean Devenish-Huggins, Trinidad & Tobago Catholic News, 8 July, 2007

“I saw [Caroline’s] inspiring and profound presentation on the last night and was really moved by it…[she’s] a natural. The transition from one scene to the next was flawless… Moreover, it was really stunning how [she] pulled off the transition between going back home and forwarding home, and this made [the] ending with Tanker’s “Back Home” all the more dramatic… suggesting that there is no sense of permanence in migration, especially for Trinis or people who embrace so much of humanity!”

Winthrop Holder, 27 August, 2006

“Caroline Taylor…What a gem! The singing was good and it was easy to understand her words…but her acting! That was sheer delight. Congrats to her!”

Jean Devenish-Huggins, Trinidad & Tobago Catholic News, 20 July, 2003

“Caroline Taylor stole the audience’s heart with her performance of ‘Adelaide’s Lament’.”

Trinidad & Tobago Newsday Feature (no author credited), 14 July, 2003

“Cast in the role of Medea, [Caroline] Taylor carried herself with the poise appropriate to her role. Her smooth voice was well suited for the mercurial transitions between pain, entreaty and heartless calculation. Faced with the difficult task of portraying a woman torn between her need for revenge and the last traces of her humanity, she captured Medea’s uncompromising intensity.”

Eric Pierson, Williams Record, 6 May, 2002

“Caroline Taylor has a bright future ahead of her should she decide on a career on stage. Her saucy interpretation of “I Can’t Say no!” from “Oklahoma!” was the first of the two highlights of the evening. Her voice was strong, the diction excellent and the acting first class.”

Anne Hilton, Trinidad & Tobago Newsday, 14 July, 1999

“Caroline Taylor is emerging with a lovely strong voice and is an able actress. Her performance of ‘I Can’t Say No’ was truly entertaining.”

Jean Devenish-Huggins, Catholic News, 18 July, 1999

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