Reviews
« Patrix is very much aware of the power of his own words : he is a commanding performer who easily dominates any stage he’s on »
The Times
« Patrix is so capable of transmitting energy, humour and emotion, that some have insisted he is more shaman than storyteller. It is true that there is something dreamlike about his material – as he sees it, his stories speak to your inner world, a world composed not of logic but of images, feelings, intuitions, colours. But, crucially, his personal stories speak to your outer world, offering the uninitiated an open door into the world of folk tales – a world which may at first seem alien, but which has a profound sense of shared humanity, as meaningful now as ever »
The Times
« Abbi Patrix is a commanding presence with a powerful voice and an array of expression that mysteriously blends the inscrutable with the strongly emotional » The Times
Press on the performance “FAKE”
Le Canard enchaîné
“He already amazed us in 2017 with his dark take on Hamlet that mixed moving image and electronic music, played by the impressive Serge Merlin. The director and composer Wilfried Wendling has once again embarked upon an atypical project: Ibsen’s Peer Gynt staged in the open air. We say yes!”
M. P.
L'Humanité
“The radio frequency scrambles… and the journalist’s continuous drawl makes way for Anne Alvaro’s voice which seems to come from unimaginable depths. She calls out to Abbi Patrix. His suave, deep voice replies, promising us that we are about to experience something ‘fantastic where eye and ear are no longer combined’ . Little by little, the surrounding world becomes an odd vantage point. What a strange world of trolls.”
Journal la Terrasse
“Snippets of radio shows, percussive and climatic patterns, interactions with passers-by and
members of the audience, direct quotation of monologues taken from Henrik Ibsen’s Peer Gynt…here everything criss-crosses, comes together, and overlaps…”
Manuel Piolat Soleymat
Théâtres.com
“The sheer magic of this piece resides in the fact that the listener/viewer experiences the
performance via a headset: they are secluded within their own perceptions, their own hearing,
all the while amidst a dense and mobile crowd. It’s a surprising encounter and the concentration required to listen in such a densely populated space leads to a kind of meditation, a state of reassuring relaxation and introspection.”
Audrey Jean
De la cour au jardin
“It was a fascinating experience bringing together many artistic disciplines alongside a genuine
idea and real questions. There was no lack of either form nor content. It’s an unusual set-up;
I couldn’t imagine anything more surprising and interesting.”
Yves Poey