Ketzal is, quite simply, Derevo on top form: mystical, bizarre, fiercely physical and intensely beautiful.
The Herald, August 2006
Derevo have frequently done brutal, and sometimes they do playful. The pleasure of this show is that you get both.
The Guardian, August 2006
Russian company Derevo have a reputation for highly original, often profound visual theatre. Their latest piece, Ketzal, is no exception.
Sunday Herald, August 2006
The lighting and visual imagery are unforgettable, the dancing and movement thrilling, the superb, rich soundscape sculpted to the movement as though both had been born in the same creative moment.
The Scotsman, August 2006
Anton Adasinsky and 6 twithching, writhing acolytes run theatrically amok in a style that plays like a cross between a live Fellini film and Japan’s darkly imagistic butoh dance.
The Times, August 2006
Ketzal will see the stage flooded as the company hop and glide like oil on water
Scotland on Sunday, August 2006
“Boy, what a trip !”
Daily Telegraph, August 2006
The shows conclussion left the all audience sated and happy.
Three Weeks, August 2006
I cease thinking and can only feel lost and found at the same time
Total Theater Magazine, August 2006
Their performances are anarchic, chaotic and utterly beautiful.
The Stage, August 2006
In Ketzal the performers become a succession of beats, some of them are fantastical. They are massively inventive.
Financial Times, August 2006
To expect from Derevo
straight line dramatergy would be pure illusion. In pictures move
creatures from so mystical, essentially - fantastic dimensions,
that it is hardly possible to define them.
"Sächsische Zeitung", 18.12.04
In defused light on the background of rhythmical metallic
sounds, created by Daniel Williams from Edinburgh, appear pictures
which at the same moment un-charm and charm you.
"Dresdner Neueste Nachrichten", 17.12.04
At face value, it reads like evolution theory, performers
squirming and hopping as though they are first-footing arrivistes
from the primordial soup. Bodies morph bonelessly across species
and, when the stage finally floods, they dive, writhe and aquaplane
with absurd abandon. Death and re-birth: an epic journey made blisteringly
human by Derevo.
“The Herald” , 19.04.05
But mostly, there’s a vivid, unsettling sense of
life on Earth proceeding without any reference to our banal human
concepts of normality. And for the most part the show’s quality
is breathtaking. The lighting and visual imagery are unforgettable,
the dancing and movement thrilling, the superb, rich soundscape
sculpted to the movement as though both had been born in the same
“The Scotsman”, 18.04.05
The atmosphere reflects the company style: environmental
effects, lights, sounds and music's rainings movement create a charming
and dissonant medley, fantastic and reverberant.
"Il Manifesto", 15.02.2005
The scenography is hypnotic and charming. The voices, the
lighting changes, the water flowing, the dance, the music bewitched
by particular sonorities, all make Derevo's performance as labyrinthine
trip through a theatre full of pathos and mystery.
"La Repubblica", 15.02.2005
Derevo choose a small theatre hidden from the "big
"La Nazione", 15.02.2005
Supplicants in a prison camp; humans to be experimented
on, almost spermatozoas looking for a way to come back from inside
the uterus with their fluid movements. In the last scene, where
they flood the theatre and playing in a furious dance and in a metaphysical
trance, they splash the public in the front row with their wet skirts.
Tommaso Climenti, "Scanner", 21.02.05
How very Russian and anarchist of them.
Without wanting to give the show away, a word of warning to those
who may find themselves sitting in the first row – a deluge
is part of the script and you may find yourself heading home
just a little bit damp.
"Taipei Times", 18.11.05