'Great respect for the 24 hours that flew by. The ever-changing audience, the 100 that passed and then the utter release in the applause. Wowee!!!! Kudos, kudos, kudos. A lot of the images will stay with me.'

'It was one long, wild, emotional, frenzied and above all fantastic trip! Thank you so much! ♥️'

'It was amazing to witness this. Been there for almost the whole 24 hours and was so moved by the thunderous applause. Very deep bow and I will look back on this beautifully. Hats off!!!'

'I watched the first 9 and the last 6 hours, together a little more than half. It was addictive, exciting, sometimes painful, often moving, always beautiful. Almost every 2 hours we sat in a different place in the auditorium, which, because of the clever set -theatre on the left, livestream on the right- ensured that you experienced the scenes differently each time. The line between theatre and film blurred and the endless repetition made it a kind of groundhog-daydream. 'Theatre moment of the year.'

'This afternoon I was there, at the wordless ritual this artist makes of a simple and possibly pointless act. Each one of his scoops is different, exciting and, yes, also moving at times.'

'I spent almost the entire six hours with Viktor on Sunday, went back yesterday and will also be there for the last few hours on Friday because I have never experienced anything so special.'

'So touched by the invitation of Victor Pilon to move a few grains of sand, and participate in the performance marathon. Thank you so much Victor! 🙏❤'

'Thank you for bringing me to a point where I allowed myself to be calm, to be grieving, to feel rage and finally, to connect – soul to soul – with you. This was a human connection that I will never forget and will always carry in my heart. The strength and the beauty of pain is in all of us.'

'Very beautiful it was! Moving and made me think: where do I feel at home? I am inspired to create again as a maker thanks to Crossings itself.'

'Incríveis fantásticos sensacionais!! Um prazer enorme de poder assistir a Cia de novo, e ficar tão embasbacada quanto da primeira vez 🙏🙏🙏'

'What an awesome, powerful, fantastic performance it was this afternoon - thank you! 🌟💥🌟❤️🌟'

'Lindos ! Vocês são demais ! ❤️ uma energia unica dentro e fora de palco 👏parabéns pela força'

'Seen on 18/6. Wow, surreal ecstasy!'

'It was just mesmerizing! ❤️❤️❤️'

'I would love for it to be released on YouTube. It was one of the most beautiful shows ever.'

'Was an incredible show! 👏👏👏👏 I had the honor to be there ' 

'This is just stunning wow' 

'Breathtaking ♥️'

'What an evening, amazing! Enjoyed it immensely! Thanks for inviting me to be part of this.'

'Was a wonderful performance. Very moving.'

'It was a lot of fun, I don't even have a driving licence 😂 but definitely laughed and had all sorts of associations ❤️'

'It was quite its own original style! We're going to try it too. I read something about Satie and Pink Floyd, but also thought I recognised Gounod and Sakamoto. And of course Maria Callas with the rose, which Kazuo Ohno also danced to in the same Stadsschouwburg!'

'A universal dance... a touching experience.'

'Left the auditorium feeling intensely fulfilled and relaxed. Delightful performance.'

'The world LOVES the music of Arthur Verocai. Once heard never forgotten and remains in the heart and mind.'

'Next to the Rolling Stones, the most fun concert I've ever been to.'

'It was like a dream I will never forget.'

'What a boss. Very much enjoyed this concert! 🔥🙌🏽'

'Que maravilha, Verocai!!! Merecidíssimo!! Emocionado aqui!!! Abração!!!!!'

'🙌👏 Parabéns , estavamos presentes de coração! Sempre na boa vibe. Um abraçao e Parabéns pelo talento seu e de todos os músicos maravilhosos'

'It was amazing!!! I took some extra guests for the performance and they all loved the music and atmosphere. More Brazilian music in the Holland festival!!!'

Even before a single note of Georg Friedrich Haas' 11,000 Saiten has been played, the mere sight of this arrangement is already spectacular. Something like this is only possible in the monumental Gashouder, where the Holland Festival has more often had outrageous compositions performed in an exciting way.
- Peter van der Lint, Trouw ★★★★★

Between the 50 conservatory students at the pianos, 25 musicians from Klangforum Wien were also lined up. They played powerful drones or mixed new tones through the timbre, which, as always with Haas, was the very subject of the composition. No matter how spectacular, after 15 minutes the listener knew what 50 tuned pianos sounded like - but at that very moment the Klangforum members provided a surprise with gigantic crescendos of drum and cymbal rolls. Thus, Haas effortlessly held the attention with clever dramaturgy for over an hour.
- Joep Stapel, NRC ★★★★

The performance gets wings especially when Austrian Jamie Petutschnig enters the stage. With a penetrating gaze, a confident pose and a brilliant voice, the soprano sings of the beauty of the Giulia, the Spider and the Berlina: 'a family car that wins races'.
- Fritz de Jong, Parool

Especially in the Italian monologues, you sense that this show is about more than a car. They are texts steeped in poetic superlatives and nostalgia. Moreover, they are delivered so persuasively on stage that you can't help but catch some enthusiasm. Even if you have never quite consciously taken a look at an Alfa Romeo. The subtle and not so subtle references to Romeo and Juliet contribute to this. They question the object of this group of people's desires. Isn't the car slowly becoming an impossible love?
- Jane Stuhlamcher, Theaterkrant

Theatre maker Dries Verhoeven is interested in what Lockrobin has called "behaviour when you don't feel watched" in much of his work. He uses it as a magnifying glass with which to view our moral actions. The further he zooms in on it, the harder it is to distinguish classical pairs of concepts such as punishment and reward, shame and guilt, viewer and watched.
- Dana Linssen, NRC ★★★★

The incisive texts with which the performer confronts us are at the heart of this well-thought-out performance. The programme notes state that the texts are drawn from interviews with experts by experience (shoplifters), alongside publications by anti-capitalist authors such as Marx, Zizek, Genet, and others. Vivid observations, amusing comparisons, rock-hard analyses of (digitised) capitalism: as the show progresses, the audience becomes increasingly captivated by this figure's argument.
- Javier López Piñón, Theaterkrant

Verocai therefore has the aura of a rock star, especially for the young visitors. But no fuss for the now 79-year-old Verocai: just one second he is on the beat, and a frail flick of the wrist later the music pops into the hall and heads go up and down eagerly. Singer Paula Santoro and vocalist Rogê do not excel in virtuosity, but they do excel in getting the audience along. There is wholehearted cheering. When, towards the end, the fragile maestro himself takes the microphone to sing, of course the Grote Zaal couldn't be more thrilled.
- Freek Dijkstra, Trouw ★★★★

This is what charisma looks like. Arthur Verocai, now 79, tall and lean, stylish jacket around bony shoulders, need only glance into the hall once to overwhelm the audience. He barely had to move, barely had to raise his hands to make the large-staffed orchestra sound like the finest big band in the world.
- Wijbrand Schaap, Cultureel Persbureau

A 'Carmen' like no other delivers a multi-layered performance. Why does Carmen always have to die at the end of the story? It is one of the tantalising questions in Carmen, the production created by Wu Tsang. Here, the persona of Carmen is split into three: a male dancer, an actor in drag and mezzo-soprano Katia Ledoux. The latter is the radiant centrepiece of the evening. Despite the deconstruction, she gets to sing all her major scenes from Bizet's opera, and Ledoux does so with a fantastically full and deeply coloured sound. With her body, charisma, facial expressions and that voice, she draws all the attention to herself.
- Peter van der Lint, Trouw ★★★★

Carmen joins the transformation. Not only has she become a figure from different Spanish periods, she is also split like a goddess into three characters of different gender. Carmen is the dangerous holy trinity of self-destruction, manipulation and attraction.
- Patrick van den Hanenberg, Theaterkrant

Dans la mesure de l'impossible is the name of the performance. 'As far as impossible' is the translation. This refers to the often impossible task of relief workers. 'We are an umbrella in the face of a tsunami,' it sounds. But 'the impossible' in the show is also the term for all those disaster areas where they work. The possible is the safe home. And, they warn us, the impossible is always changing places. It could also come here. The impossible also refers to the unbridgeable gap between aid workers and those back home. But Rodrigues gets impressively far with this minimal, poetic performance.

- Sandra Kooke, Trouw ★★★★

'The stories of aid workers are poignant, but sometimes surprisingly positive. Two men and two women form a mouthpiece of aid workers working in war zones. (...) Now and then they are interrupted by a disruptive drummer (...) who gives their stories a poetic layer.'
– Ela Çolak, De Volkskrant ★★★★

In Depois do silencio, Christiane Jatahy mixes book adaptation, lecture performance and music to delve into the exploitation and oppression of indigenous and Afro-Brazilian people. That Jatahy and her cast manage to make a performance about that history *not* just about pain may be a minor miracle. Jatahy achieves this by making the interconnectedness and love of her actors/characters central. At every moment, they support each other in telling their shared history.

- Marijn Lems, Theaterkrant

Jatahy likes to blur the lines between fiction and reality. In this play, too, a special mix of realistic and dreamy emerges: as a spectator, you are not entirely clear what is real and what is not. Documentary-style images of life in Agua Negra are shown on big screens and the actors walk among the real residents of the area, as if they were actually part of the community.

- Myrel Morskate, Trouw ★★★

Brazilian dance collective Grupo Cena 11 fires a bombardment of stimuli at the audience. The exhaustive repetition of 'Eu não sou só eu em mim' ('I am not only me in myself') serves a clear purpose: to block binary thinking.
– Annette Embrechts, De Volkskrant ★★★★

With lyrics such as 'I am not a riddle to be solved', the performance not only pokes fun at traditional, binary conceptions of identity, but also nicely shapes what could be called a certain form of unbiddenness. All in all, the performance is thus a wonderful proposition about the mutability of identity. (...) The combination of self-affirmation and undermining makes this work by Gruppo Cena 11 a highlight of the Holland Festival. Because this kind of hopeful, anarchic or punk-like suppleness is sorely missed on the big stages in the Netherlands and beyond.
- Fransien van der Putt, Theaterkrant

The play is now not set in a castle, but in a rich bungalow, with inventive use of many transparent screens on which to project. The past (in projection) and the present (in reality) are cleverly interplayed.

- Max Arian, De Groene Amsterdammer

But it is Jatahy's Hamlet that comes to question whether change can only happen through violence. To be or not to be is a question, but how to shape it is even more important, and Hesme plays that self-questioning ruthlessly.

With projections or live streams on canvas, back wall and screens, situations and locations in the past and present, reality and beyond, appear and blend effortlessly with the concrete reality on stage. It is a minutely composed visual language that also demands a few things from the actors. But nowhere in the performance does this feel forced.

- Lucia van Heteren, Theaterkrant

With composer Frank Wienk, drummer Jens Bouttery and eight singers from the Nederlands Kamerkoor, [Velissarou] transforms an emotional and mental low into a chilling, rousing and finally deeply stirring theatrical club concert. (...) Bouttery provides the text with furious beats and percussion, making the whole thing lean towards a ritual exorcism.

- de Volkskrant ★★★★

What affects most deeply in Hardkoor is the brief moment when Velissarious's son's voice emerges from one of the speakers. "Go to sleep mummy," he says, his voice slightly distorted (and protected) by the autotune. "Then you'll get better soon." This caring child, and everything that phrase implies, tears your heart apart.

- Shira Keller, NRC ★★★★

During this Holland Festival, Brazilian Metá Metá, together with Terrie and Andy from The Ex, will take on the challenge of improvising a more contemporary score to 'Limite'. Metá Metá is a highly regarded jazz trio in their home country, but hardly known in Europe. The five give each other, but - particularly in the beginning - primarily the film, its space. For a long time, they play remarkably subdued, with both Ex-guitarists clearly feeling on their own turf both literally and figuratively and the three Brazilians, all excellent musicians, following suit.

After about 45 minutes, the musicians find each other in a 'groove' that everyone feels comfortable with. From then on, the connection between music and film seems to diminish somewhat. Or to be more precise: while in the first three quarters of an hour the musicians are still strongly guided by the film images, later it is more the development of the improvisation that steers the interpretation of the film by the audience.

The abstract nature of the film encourages this development.

- Peter Bruyn, Gonzo Circus

Nascimento is a particularly powerful, unpredictable performer. A lived-in adaptation of a grief-stricken mother, is followed by a semi-light-hearted quiz on Brazil's colonial past. Thus he intertwines personal stories and historical gaps with deep-seated mechanisms of injustice, oppression and racism, in a theatrical sledgehammer blow that moves, activates and infuriates. It [is] impossible to leave the theatre unmoved.

- Sander Janssens, de Volkskrant ★★★★★

The Holland Festival and artistic associate Jatahy thus show that there is a continuum in political performance, where virtuoso acting is employed to tell necessary stories and, above all, to incite action. Theatre can be a weapon in the fight against racism. The camaraderie between the mother of the boy shot dead and the performer concludes this Macacos. (...) Macacos has impact beyond aesthetics and it is moving to witness how the mother of the boy killed clutches the most peaceful weapon that might exist: theatre.

- Javier López Piñón, Theaterkrant

'The feeling of being completely lost' is characteristic of melancholy, according to composer Brigitta Muntendorf, and she was able to aptly convey that feeling to her audience at the Muziekgebouw in Amsterdam on Wednesday night. Her Melencolia, which takes its title from Albrecht Dürer's 1514 copper engraving, turned out to be a jam-packed, hyper-eclectic and high-tech musical total theatre that you could hardly get a grip on. But in a captivating, even blistering way - as if you were immersed in a jubilantly magnified biopic of life itself.

- Joep Stapel, NRC ★★★★★

The performance is flawless, with Ensemble Modern emerging as a club of people who not only master their instruments perfectly, but are also accomplished actors. A special compliment is due to viola player Megumi Kasakawa, who, in the penultimate movement, 'Winter Scene', dedicates her instrument to the stage as an offering and sings with abandon a Japanese folk song that sounds like a wistful French chanson.

- Thea Derks, Theaterkrant

'Walking around the Muziekgebouw in Amsterdam feels like a trip into a strange universe. From every perspective, the network of 12 musicians sounds different. (...) The result is, in a word, stunning.'

- Dennis Weijers, de Volkskrant ★★★★★

Personally, I ultimately experienced it as more satisfying to just let the music be what it is. Without worrying about whether I was listening to a musician or an algorithm, but simply by listening to the playing class of the dozen and enjoying the harmonic beauty. Then 'Mutability' just turns out to be a beautiful piece of music where every note falls into place. Right down to the Ligeti-like finale - in terms of sound and atmosphere - which approaches perfection.
- Peter Bruyn, Gonzo Circus

Outside on the piers along the IJ, this immersive concert installation leads to lively conversations among visitors about what they heard, and especially about how they listened. And that was precisely what Kyriakides wanted to achieve.

- NRC

The performers also introduce themselves to the audience and joke among themselves as well as to the crowd. The gathering that began as a ritual turns into an informal one. The total is reminiscent of an online presentation that often shows the same mixture of carelessness and precision. Especially towards the end when the giant baroque pearl orgastically fills the triangle on the floor with a slimy substance. The three performers playfully bathe in the white slime; eventually, their actions come to a halt and a video of a (the real?) world is shown on the screen, where different laws and processes are at work than in the world the trio conjured up for us before: an idyllic paradise.

- Javier López Piñón, Theaterkrant

Not music composed to a film, but vice versa: the Holland Festival opened with two films made to existing compositions. In a sold-out Gashouder in Amsterdam's Westerpark, the choir Cappella Amsterdam and the Radio Philharmonic Orchestra are seated under a white cloth. Award-winning Brazilian filmmaker Christiane Jatahy, also an 'associate artist' of the Holland Festival 2024, opens with a stirring, socially critical film she made to Caroline Shaw's intense Music in Common Time.
- Dennis Weijers, Volkskrant ★★★

The formidable control of the orchestra's Chief Conductor, Karina Canellakis, meant that no detail was lost to the spacious dome of the Gashouder in an exhilarating opening night rendition of Stravinsky’s The Rite of Spring, again accompanied by film, this time by Evangelia Kranioti. Although some film projections can distract from a live performance, Kranioti’s, which explores the contrasts of contemporary Brazil from cabana to motorway, from indigenous rite to carnival, beauty to violence, reawakens the extraordinary extremity of Stravinsky’s original score.

- Eleanor Knight, Bachtrack

It is an alienating and fascinating spectacle, which at times has something simultaneously apathetic and restless. But inherent to the concept, it is also a tough and monotonous sit, with many variations of the same thing. Etchells deliberately sorts out annoyance and boredom in the (partly straying or even dropping out) audience. Most beautiful are the moments when, despite this, you suddenly find yourself watching the scene fascinated. It is a wonderful sensation how beauty and boredom can sometimes go hand in hand.
- Sander Janssens, de Volkskrant ★★★

Nowhere do they break with form and that gets on your nerves. You want to escape from this. But like the actors, we can't, and we are stuck in that never-coagulating performance of identity. (...) Man, on the other hand, stumbles over his mistakes. Gets frustrated and exhausted. It is that point that Signal to Noise very deliberately seeks. Both on stage and with the audience. The resistance the performance evokes is crucial. The persistence it requires, and above all the poignancy that eventually sprouts unexpectedly from that exhaustion; for that, you really have to be human.

- Elise van Dam, Parool

Watching a man shovel sand aimlessly for six hours is unexpectedly fascinating. To get ahead of the boredom, Pilon deploys theatrical means. He sometimes slows his stride, looks suspiciously at the surrounding audience, swings his shovel around as if juggling a spear. Sometimes he scratches the ground with his iron blade until sparks shoot off. Sometimes he drags the shovel behind him, or runs incantatory circles around the mountains of sand. He is in no hurry. The industrial soundtrack fits in well, with buzzing humming tones, bright metal strikes, and very occasionally a sung song. Biggest surprise is that he asks audience members to briefly take over his physical labour. Without breaking his silence, he hands them the handle of his shovel. It gives him time to sit for a moment and dab the sweat from his forehead.

- Ron Rijghard, NRC ★★★★

'Pilon turns it into a real spectacle. In the very first hour, he grates his shovel across the concrete floor to the point that it hurts your ears and swings it through the air dangerously, like a samurai with his katana.'

- Jan Pieter Ekker, Het Parool

Performer Janaina Leite reckons with her past in an explicit, mercilessly honest performance. For her show Stabat Mater, Leite wanted to make a film with a real porn actor and have it directed by her mother. You just have to dare. But that clip came: it was shown at the Holland Festival last weekend, as a rather explicit part of her performance. Leite herself having sex with a tough guy and her mother giving directions. It seems embarrassing, but it is not, it's at most uncomfortable, but most of all brutally honest.

- Hein Janssen, de Volkskrant ★★★★

Both actors are white-masked, which looks alienating. With interventions like these, Leite brings alienation and bizarrely creates distance despite all the extreme intimacy. Meanwhile - you won't believe your ears - the Stabat Mater is heard in a sacred version from centuries ago. With these charged, shocking contradictions, Janaina Leite ruthlessly works out the theme of women as virgins and what that idea leads to in the Western world. That she gives her own mother a crucial role in this is a choice with impact.

- Kester Freriks, Theaterkrant

With his two-part 'Stravinksy Fairy Tales', choreographer Alexei Ratmansky brings classical ballet to the present. The two ballet pieces, performed by the Dutch National Ballet, breathe the atmosphere of a fantasy story, but are also a successful ode to the art of classical dance.
- Hein Janssen, Volkskrant ★★★★

The National Ballet puts an etagere of delectable ballet pralines on stage.(...) Ratmansky is not to be caught out by any eye-catching dramaturgical innovations - the structure of the ballet could be called calibrated. But those who look more closely see how everything - from swirling group dances to masterful duets - supports the dramatic development of the characters.

- Alexander Hiskenmuller, Trouw ★★★★

Phenomenal musicians, beautiful storytelling and elegant stage design: after a fragmented beginning, all the elements melt together. In a sold-out venue, singer Areni Agbabian walks towards the stage with a candle in her hand. Don't let the intimate start fool you. Once Areg is introduced, a sequence of roughly the following formula follows: a narration, accompanied or not by piano, followed by hard-hitting jazz rock popping into the hall. It's not for everyone, but many visitors sit subtly nodding along to the music. The Holland Festival version of headbanging.

– Britt van Klaveren, het Parool

This overwhelming musical performance, based on the idea of Armenian jazz pianist Tigran Hamasyan and directed by Ruben van Leer, is powerful in its subtlety mixed with explosiveness. Each time after a small narration, a soft sound or a sophisticated lighting intervention, there is a burst of imposing tones or dazzling light.
- Mina Etemad, Theaterkrant

She beautifully flutters backwards into the theatre auditorium. With splash goggles over her face and a water bottle on her head, Ana Pi dances so lightly on her water shoes that the Afro-Brazilian dancer and visual artist looks like an apparition in her white ruffled dress. Even though, during her Holland Festival solo The Divine Cypher, she uses earthly tools such as her mobile's lamp to create lanterns and a remote-controlled trolley as a moonrover. In this white dream world, Pi mixes sacred, ancestral dance forms with 'Afro-diasporic' dance styles such as vogue, krump and hip-hop.

- Annette Embrechts, de Volkskrant ★★

From the first sensitive vocal solo, the packed hall at the Muziekgebouw is sold. Between the songs, chairs, harpsichords, pianos and all sorts of other instruments are dragged around. All that shuffling and running makes the scene changes look intentionally improvisational. Out of the played messiness, something beautiful always emerges: a countertenor mockingly singing a baroque-style spot-on aria, an autumnal cello solo, a hummed choir. In Venables' eclectic score, all the songs flow seamlessly into one another and the cast performs them with endless devotion.

-Jenny Camilleri, de Volkskrant ★★★★

Ted Huffman and Philip Venables give new life to [Larry Mitchell's] cult classic with The Faggots and Their Friends Between Revolutions. It delivers an anarchic evening of queer joy. Traditional hierarchies between singers and musicians, as well as spectators and performers, give way to a group where everyone is constantly playing and making music together.

- Jeroen van Wijhe, Theaterkrant

Jia-Yu Chang Corti, who was carefully selected by Abramović, meanwhile quietly and intently explores the three rooms and stares for a long time at the room that is packed with people. Then she goes to the bathroom and a little later she takes off her clothes and takes a shower. There are whispers and soft chuckles here and there in the hall. House with the Ocean View is probably Abramović's best-known performance, having been imitated in the popular comedy Sex and the City. In the series, it can be visited day and night, but that is made up. The Stedelijk Museum will be open three nights longer, but at night Jia-Yu Chang Corti will be alone. There are guards in the building, though, and there is an emergency button she can press at any time.

- Harmen van Dijk, Trouw

They dance "the romeo," a fictional dance that choreographer Trajal Harrell claims has evolved across history, cultures, gender and contexts, as a kind of imprint of humanity - past, present and future. Thus, American Trajal Harrell, the darling of stages worldwide and a unique talent, uses echoes of classical dance influences, Japanese butoh and postmodern dance for his "romeo" dance, in addition to his vogueing-based vocabulary with which he has become famous: sexy, self-aware, empowering.
- Alexander Hiskemuller, Trouw ★★★★ 

Harrell soars far beyond definitions of art with his dancers. The joyful flow of the performance, involving a dozen dancers of all sizes and plumage, is addictive and infectious. These people of flesh, blood and past always dress up, proudly show off their outfits, dance in a circle but with their faces to the audience: they tell huge stories but need no words to do so.
- Wijbrand Schaap, Cultureel Persbureau

The performance is addictive. Precisely because you quickly figure out how the scene is put together, every little deviation brings tension. I notice how the energy of each Martin affects the scene. Some Martins come in very lovingly and are treated the same way by Virginia. Others try to make a joke out of it. Those then take Verbaan in just the same way. And every time, the end is the most exciting. The whole room seems to hold its breath when Martin again decides whether he loves Virginia or not. Especially on Saturday afternoon at four o'clock. Then it's the turn of the very last antagonist. When he says he loves her, a minute-long standing ovation follows. Martin is not the only one - by now the entire audience loves Georgina Verbaan.
- Justus Boesschen Hospers, Parool

Just one more one, I thought at a quarter to two at night, with stinging eyes and a pounding forehead after about eight hours of watching. The element of surprise is addictive. "I never loved you," says an old rocker with a scarf and leather vest, who seemed so endearing a moment ago. "Asshole", I think.
- Myrel Morskate, Trouw

The Unborn is a piece between ritual and performance, trying to cross, or even dissolve, the boundary between the living and the non-living. The theater is already a ritual setting in itself, Pinheiro says, with people entering an agreed-upon place at an appointed time and adhering to agreed-upon codes there.

- Marjolijn de Cocq, Parool

After the performance, I speak with Holland Festival programmer Katinka Enkhuizen. She explains that the premise of The Unborn was that Pinheiro's mother had several miscarriages before she was born. Through this story, I feel a connection to the "why" of the creator and this performance. I find it a fascinating thing to work with: the spirits of the unborn who were never allowed to have earthly life. But you did. It makes the aspect of "absent presence" or "present absence" more interesting.

- Zahira Mous, Theaterkrant

Oulouy's physical journey (from prayerful posture past a fishy Bach, through apathetic standing in the corner and through jerky crisis-motion) ends after three quarters of an hour on the stairs next to the bleachers. He takes a few sips from a bottle and looks at the audience and the now empty dance floor. A smile breaks through on his face. Apparently refreshed, he bursts into an exalted whirlwind final dance, once again exploring every corner of the stage. Particularly striking here is his lightning-fast footwork rooted in African dance styles.

- Fritz de Jong, Theaterkrant