“There’s little else like it.”
— NOW Magazine
“Fabulous! It’s a fabulous, terrific piece of theatre. You must go!”
— CBC 99.1
“Exuberantly executed, not-a-moment-wasted 60 minutes of creative theatrical responses.”
— Globe & Mail
“Spence has written a superb script.”
— Classical 96.3
“One of the most brilliantly conceived pieces of physical theatre this season.”
— Stageandpage.com
“UR going 2 luv e-DENTITY. and BTW, it’s often LOL funny.”
— The Toronto Star
” **** – compelling theatre … theatre of the best sort. … Gargantua never ceases to push the boundaries of our imaginations. And beyond those boundaries, it is clear, Gargantua has envisaged a whole new world and called it theatre.”
— The Toronto Sun
“A haunting, visceral, remarkably pertinent and original theatrical experience … successful culmination of three years’ work … not likely to be very soon forgotten.”
— The Toronto Star
“… [the audience] literally jumped up and gave one of the sincerest ovations I have ever seen.”
— CBC Radio
“Theatre Gargantua attacked a deep and difficult issue with such astute creativity. You are led through a captivating experience of sight and sound. Theatre Gargantua has mastered the art of emotional suspense.”
— Oregon Live
“Marked by Gargantua’s genius”
— The Toronto Sun
“Beautifully danced duets … ingenious set … what’s quite wonderful about this mix of song, dance and theatre is the way one element rises beautifully out of, and falls back into, another.”
— Eye Magazine
“Theatre of the unique … no Toronto company is more distinctive.”
— The Toronto Star
“The movement, especially, is marvelously tender, as hearts flutter upward, taking wing, or are held in check by uncertain hands.”
— NOW Magazine
” A hypnotic web of sounds and images”
— NOW Magazine
“Presented with art, intelligence, strain and sweat … high theatrics and imagistic feel.”
— Eye Magazine
“Spectacular … performed largely in mid-air, it is filled with visual beauty.”
— Globe & Mail
“Funny, lovely, bawdy, haunting … enacted through precise and demanding choreographed movement, verging on acrobatics … The Trials is like a vivid dream, the kind that makes you wake up giggling, or in tears at some lost, precious moment.”
— Theatrum
“The Trials glows with a white heat illumination and a haunting quality that transports audiences to a medieval world.”
— NOW Magazine
“Templar Tale enigmatic and sublime … Under [Thomas'] seamless direction, the talented six-member cast performs an acrobatic ceremony.”
— Eye Magazine
“… lush medieval costumes and ingenious ‘transformer props’ … text compiled by Thomas and writer/dramaturge Victoria Ward, contains lots of moving and sensual found poetry. This provides considerable verbal pyrotechnics and a string of striking, evocative word-pictures … to accompany the ravishing, candlelit tableaux and muscular, fluently choreographed dances.”
— Globe & Mail
“A crazy quilt of passionate imagination and image … boldly ambitious … a turbulent, surrealistic composition.”
— The Toronto Star
“… a strong and extremely watchable cast … exhilarating dance moves … expressed superbly in dance and song … enticing performance”
— Manchester on Stage, UK
“One of the most beautiful multimedia shows of the season.”
— L’Express de Toronto
“Both fresh and edgy … speaks as readily to the heart and mind as it does to the ear.”
— The Toronto Sun
“It’s the kind of Canadian play with enough cleverness to make you glad to be watching theatre in Toronto.”
— Globe & Mail
“Superb staging and physical performance, sweet and trance-inducing a capella singing, and with strong writing from Meryn Cadell … shocks and delights as the dream ends and the veil between audience and performer is swept away.”
— Eyeopener
“The piece demands intimate examination of our repulsion and fascination with violence, and Cadell is an expert observer … very impressive … engrossing.”
— NOW Magazine
