What impresses is the company's mixture of discipline and energy. Above all, they remind us that Greek tragedy was intended as an all-out, total theatre experience rather than a restrained poetic event. And, while one grasps only a part of the meaning, the result is like watching Euripides by flashes of lighting.
/ Michael Billington, The GUARDIAN, London, 3.02.2006 /

The company presents the glossary of gestures, - fascinating, like watching ancient Greek vase paintings on the modern stage - and applies this work to a distilled version of the tragedy. The result is astonishing: Greek drama becomes vivid, pliant and graphic, the extremes of emotion expressed in a tempestuous blend of song, sound, word and gesture. (...) the performers - disciplined, intense and tireless - take the stage by storm.
/ Andrew Clark, FINANCIAL TIMES, London, 3.02.2006 /

Metamorphoses alternates hymns and ecstatic ritual to catch the spiritual mealstrom of Apuleius's age, as religion tilted from paganism to Christianity. Elektra, meanwhile, investigates the creative process of the Greek playwrights. An author strides among the standard tragic characters, investigating and guiding the myth into new areas.
/ Kieron Quirke, EVENING STANDARD, London, 3.02.2006 /

"Elektra" presents a treatsite on Cheironomia, the ancient art of formalized gestures or schemata used to express emotion. This display of esoteric erudition provides the basis for a hectic, dynamic performance. (...) Gardzienice's breathless pace, disregard for certain conventions and sheer energy make this a rare opportunity to see a liberating, if baffling, performance.
/ Charlotte Loveridge, CURTAIN UP, London, 6.02.2006 /