Manège de l'utérus hanté

"Well acted... a slightly destabilizing, but intriguing, artistic object"
"I immediately felt a connexion"

"The word that defines this show is delightful"

"For those who really love modern Japanese atmospheres, it is a must see, because it is delightful!"

"What I saw has an extremely modern atmosphere, has nothing Geisha about it, has nothing to do with commercial Japanese culture, and features a young girl, [...] solidly grounded on solid legs, [...] a very good dancer, there is nothing pretentious about it, and, something rare in dance, it has a sort of narrative. You really feel that there is some form of boredom trying to take over, but that it will be shaken up by some fantasy that is in the character's mind. So this young girl, who is bored, in her room, in Tokyo, has music in her head. And this music is played live. It is on stage, in the background, on a small stage, [...] it resembles those small cubes we sometimes see and that give us something of an idea of Japanese apartments, that look like little cages, everything is minuscule, everything is encaged, and then there is that karaoke atmosphere, a little bit of Dada, and music."

"There is something delightful, in the sense that they work on every detail, everything is in a bubble. This show gives us the impression [...] of being somewhere between dream and reality, as if this young girl was waiting to go out, was not yet in the right mood, but something will happen, and we don't know what."

- Dany Laferrière, Radio CANADA -Je l'ai vu a la radio- May 16 2009
(quotes and translation : Stéfan Cédilot)

“Otsuka sings, plays electric guitar and assists, while Morimoto expresses her past and present cultural turmoil through thematically challenging and meticulously developed theatrical dance. They are both utterly charismatic.”

- Kathryn Greenaway, The Gazette, June 15th, 2007

"Primary colours, nude numbers and pioneering contortions: dancer Tomomi Morimoto’s charisma, combined with Maya Kuroki’s strings and Patrick Graham’s sensitive pulsations, give “birth” to a young girl right in front of our eyes. She lives there, right here, now! See her, feel her tremble, smile, seduce, suffer, cry, pant, scream, and then say "goodbye" to her - as she is also ejected towards maturity.

Finally, this intimate performance features a bit of Japan, the girl’s lair, and her uterus: for sixty minutes (without intermission), it is definitely haunted. Glued to your seat, without a seatbelt, you get "uterused"... but you’d willingly do it again. "

- Gary Drechou, Voir, May 19th, 2009
(Translated by Stéfan Cédilot)