Proud winners of the Music Theatre NOW 2018 competition
“Elli Papakonstantinou´s THE CAVE takes us by storm with its powerful sound and visuals from the very first minute. Very much like today´s worldwide “reality”: a cacophony of social media, “news,” non-stop visual information, and the voices of the multiple channels of information that bombard us from dawn to dusk. But, is this “reality” or are we still trapped in Socrates´s cave?”
Jury Statement, Shoshana Polanco for the Jury Members of the 2018 edition of MusicTheatreNOW competition
Totally mad and mesmerizing… See it to believe it
A work that redefines the meaning of contemporary musical theatre with social meaning away from any realistic reference to prosaic complaints. A substantial aesthetic event
www.greek-theatre.gr, Dimitris Tsatsoulis, Elli Papakonstantinou – ODC Ensemble, “The Cave”, the Athens Consert Hall (Megaron) 10/2018, 13/10/2018
A a veritable bombardment of all senses. Eye, ear and not least brain fought to keep up… strange and beautiful, ugly and cruel
NORDJYSKE.DK, Bent Stenbakken,Punkopera: It’s strange and beautiful, ugly and cloudy, 11/8/2018
The Greek ODC Ensemble is avant-garde at it’s darkest – It’s a solid, courageous and multifaceted ensemble.
Sceneblog.dk, Se Mere, Cph Opera Festival goes avantgarde, 8/8/2018
The piece was entirely stylised and completely interpretive. It was certainly memorable due to it being a piece that steered away from our usual concept of theatre…
A view from Behind the arras, BE Festival – Saturday, Birmingham REP,7/7/2018
A brilliant performance…
A bomb exploding at the foundations of the Greek festival!..
ATHINORAMA, Iliana Dimadi, We saw REVOLT ATHENΣ, 16/6/2016
Tremendous aesthetic craft… a perfect combination of different arts
CNN GREECE, Yorgos Pefanis, Historical Truth and Realistic Politics, 25/6/2016
An outstanding performance with a truly fresh approach
When one decides to tackle issues such as human rights, the limits of revolution, the contemporary socio-political landscape, one should go about it in a political manner. The performance is deeply political insofar as its ensemble functions as a political entity, its every member investing the end result with freedom, equality, and fraternity – that is, the performance’s subject matter.
POPAGANDA, George Voudiklaris, We entered the Backstage of Revolution, 24/6/2017