“Relationships were tentative, even furtive, with dialogue conducted through whispers into a microphone, as each dancer’s behaviour seemed a necessary factor in the calculations of others’ behaviour. Movement developed a brooding momentum towards a cathartic finale, with unison stomps and almost sufi-like spinning as arms were flailed outwards. Martin didn’t let the seductive physicality gloss over unanswered questions about power and vulnerability, but instead left the last word to soprano Elizabeth Woods singing “Che sospiri la libertà” (I sigh for liberty).” — Irish Theatre Magazine