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Corriere Mercantile , 20 March 2003

(translation)

Risk Reduction ... is a parable of living safely, taking cover - a concept that fails to take into account the unexpectedness of life and the fact that sooner or later something unforeseen comes along.

The idea of an acrobatic life here is not only a metaphor. The show's three performers are true athletes and the jumps and pirouettes that they perform on stage are real, perhaps even more so that the problems handed out by life. This is a unique show that involves the audience: on more than one occasion the actors jumped between the seats in the front row causing laughter and fright. The life of Lloyd, the troubled protagonist, is monotonous and flat, marked by a banal and repetitive ritual of everyday gestures: it is an existence lacking in autonomy and personal choice. At home, every possible need is in fact looked after for him by the trusty Mr Muscle (Rudi Mineur), a kind of magical general domestic with very macho muscles and tattoos, who wakes him, washes him, dresses him, takes care of him with great solicitude and attention, relieving him of even the slightest duty.  

The Dressing Ceremony is exhilarating. The stunned audience laughs and applauds when the portentous Mr Muscle prepares the gaunt Lloyd for the usual working day: he throws him in the air, catches him on his knee, stretches him while he puts on his trousers and does up his tie. Lloyd takes notice of nothing. He doesn't have to worry about anything: even his toothbrush or his cotton bud are Mr Muscle's duties.

Freedom is a fantastic 360 degree swing on which a man in a shirt and tie, finally smiling, continues to turn.

The Dislocate company involves and astounds. The three actor-acrobats reveal extraordinary talents. It cannot be easy to continue to perform while tied upside down with another person on one's shoulders! The show, although it has a serious moral, has remarkable comic cues, such as Lloyd's amusing gags and his erotic performances suspended in the air with his female colleague.

Part theatre, part circus, a bit of magic: the Australian Michael Gow's show is a rare allegory of the fear of modern man, who is so careful not to come out of the bell glass he constructs meticulously around himself - a refuge that is destined to shatter pitilessly at the first difficulty, but which, in breaking, reveals to the freed man infinite potentialities.