Patron reviews in my inbox this morning Oct 8, 2010
Here's some of the comments I've received this morning about b.c, janvier 1545, fontainebleau.:
- "I loved the performance, and so did my friend's 75-year-old mother who accompanied me. "I've never seen anything like that before," she said. And she meant it in a good way. Loved watching the dancer, particularly when the focus was just on her feet contorting in the air.Loved the soft sculptures, particularly the one that could have been a carrot, or could have been a testicle. All of them had these nearly recognizable organic shapes. My favorite moment though was the two of them behind the table full of candles, just standing. Comic apocalypse." -William Kennedy
- "Simply gorgeous! And, Julie Guibert: the most stunning, graceful and elegant dancer we have seen here in years." -John R.
- "In regards to Rizzo's performance at OtB, I thought it was... interesting. I didn't love it, I didn't hate it. I've never seen this style of performance before, though I hear it's big in Europe. It definitely was thought-provoking, like how the woman dancer repeated her dance moves, pausing the first time for the bunny guy to slowly and methodically pick up candles, then once they were all gathered on the table, she repeated her choreography without stopping. And how the usage of light and sound added an element of movement to the actors, even when they were still or barely moving. That woman was FLEXIBLE, which was impressive, but I doubt the point of the piece. Actually, I have no idea what the point of the piece was, but I'm not a seasoned critic, so I'll just say that it was visually pretty cool, albeit conceptually confusing to me." -Julian Skonberg
- "This was a mesmerizing, totally absorbing performance, albeit a subtle and understated one. Rizzo was the perfect magician, stage manager, and servant, carefully arranging and rearranging the world he created for Guibert, his muse, diva, and mistress. There are no adequate words for the fluid precision of Guibert's movement; her face has the serene beauty of a Northern Renaissance Madonna. This is the most satisfying performance I've seen at OtB since Crystal Pite's Lost Action." - Anne Lawrence
- "It was an interesting set up. Ripe with symbolism and edgy visuals with an edgy soundtrack. But in the end I thought it fell flat. The first forty minutes I kept waiting for some kind of change or impact in the dancing,the music something! End up fighting to stay awake the last 20 min." - Melanie Gilroy
- "The only real comment I have to make about the show, which I enjoyed, was the lack of a truly surround sound experience. From my vantage point (pretty square in the middle of the theater) it felt like 99% of the sound energy was coming from the front left/right of the theater.
Because of the intensity of the sound for this piece, it would have been a lot more powerful if it had been equally coming from the back and possibly from the sides as well. In this scenario, the volume pressure would be more effectively distributed in my opinion and not so potentially ear splitting (though I realize this was likely the point).
Of course I realize there may well have been other speakers positioned in the theater but I could not hear them from where I was sitting.
This could be the way the music was mixed or how the theater is set up. I have no idea." - Ollie G
More to be added!