The ancient Greek choir was a kind of moral pitchfork that one way or the another judged actions of the heroes. In Staniewski’s performance the choir changed into a collective lecturer telling the audience and showing them tonnes of interesting things.
/ Izwiestija no 47, Moscow, 23.03.05 /

Staniewski ploughs throught the text, divides it, changes the episodes around, joints the past and the present, and alternates the action with musical and artistic quotations. The text itself is far from the original. However, the fact that it resounds with different languages (Polish, English, Ancient Greek and Russian), not always understood by the audience, has no influence whatsoever on the reception or the visual and emotional sensation. (...) There is one more success in Staniewski’s performance – the creation of a unique technique of gestures, called cheironomia. The gestures are not fictional but ironically and loosely copied from the oryginal ancient arts. (...) The improtance lies in the enjoyment of the game process itself, reaching the highest senses but not overwhelmingly. What is interesting is that the audience is being practically and very delicately pulled into the process without any objection. This unity is probably the most precious.
/ Irena Ałapatowa, Kultura no 11; Moscow, 24-30.03.05 /


In one part of the perfromance little Electra (a Cornish actress Anna-Helena McLean) speaks in wild and roaring English, what combined with Polish, Russian and Geek merges into one melodic hum. They obiously know what they are doing. It’s not without reason that Roman Pawłowski from Gazeta Wyborcza thinks that Staniewski created Electra with his group, a performance about contemporary epidemia of violence. It also needs emphasising that the subject of the performance falls into incredible and paradoxical conflict with its own artistic means. Widely open eyes and mouth, faces full of ecstasy and pathos, joyful and happy songs, hand gestures dancing the continous dance – all those traces of ancient Greece regain before our own eyes live sense.
/ Alena Karaś, ‘Rosijskaja gazieta’ nr 60, 25.03.2005 /