Alexander Bondare, Evgeny Kozlov,
Julia Tokareva, Irina Kozlova
Technician and performer
Thomas Newman, Pan Quartet
Stage and costume design
There is something hypnotic about the work – the way in which its thread of theatre and dance, its eclectic score, draws you into a world in which all these bizarre activities become surreal logic
Ballet Magazine by Ian Palmer
This beautiful, precisely executed work is full of astonishing images. A trinity of the damned - the blind, deaf and dumb - perform a danse macabre of crime and punishment in which the roles of victim and executioner are constantly swapped. ...with giving the audience a firework display of images. But what images they are! Words fail me.
Lyn Gardner The Guardian
Fringe review.Raiting 5/5
Hangman DO-Theatre on top form; surely one of the must-see shows of this or any festival
...think of the musical Chicago, reimagined through the sinister mechanics of a children's game, and touched with the mood of Brecht's Mahagonny - it provides Evgeny Kozlov and his inspired company with material for an outstandingly beautiful and thoughtprovoking show, even by their own high standards. But the quality of the movement is often breathtaking. And the whole show represents a magnificent masterclass for Festival-goers in what theatre is and can be - a feast of light, beauty and movement for all of the senses, turning theatrical space into a magical field of ideas and dreams, and creating a whole world so successfully that when the company take their bow, after 70 minutes, it's difficult to believe that only five performers have done so much, and carried us so far
Joyce McMillian The Scotsman
The white-faced, bowler-hatted characters of DO-theatre do not put a foot wrong. This is a show of impeccable timing and virtuoso performances. There are elements of the Marx brothers, there are Chaplinesque moments but more than that, this is totally DO-theatre at the sparkling top of their form.
Reviewed by Clare Simpson Fringe review
In a monochrome world where tables float, lamps sway and shadows shift around the stage, the four dancers of Russia's DO-Theatre enact a macabre puzzle to hypnotic visual effect. Blending absurd theatre with contemporary dance, clowning and surreally grotesque humour, they use an inventive choreographic language to create moving images with a dark, disjointed logic of their own, in turns blackly funny, eerie and simply dazzling. Visually and technically it's stunning, veering between comic grotesquerie as two fancy-frocked ladies dine delicately on spaghetti brains served from the head of another dancer, to a lyrical duet where androgynous bodies cast off their black and white casings to roll over each other in the flurry of newsprint that covers the stage.
Tina Jackson Metro