Press reviews excerpts
“...accepting the actors glances, letting us be guided by gestures and sound suggestions, feeling drumming in the stomach, shivering when a monologue ends, sharing smells and tastes with the actors, touching the same objects, lightly touching them”
“...we are facing a revolutionary step forward, that potentially could awaken the entire community”
“...it is possible to grab every detail and the protagonists can hold your hand, invite and gently immerse the presents”
“The feeling is unutterable. Time stops. [...] perhaps because like in vintage old movies, each detail is magnified”
“To be there - because to watch would be reducing the experience - is absolutely worthwhile”
“it surprises even before starting [...] a nearly endless sense-generating matrix”
“Even the most skeptical spectator would find a good reason to stay more than two hours in this kind of magical and interactive amusement park.”
“What would happen if the spectator is called, pushed, or better, immersed directly in the show?”
“The only immersive theatre proposal currently available in Italy.”
“An original and stunning sensorial path. [...] A performance that is the expression of a harmonic team work, of great expertise and an artistic quality that we can appreciate more and more rarely.”
“ [...] it makes the spectator face controversial emotions, struggling with oneself between the possibility to be active or to be passive. Immersed in a forbidden Rome [...] it transforms the look of the spectator into a movie camera, and allows to build close-ups, long shots, tracking shots, overviews, point-of-view shots and sequence shots.”
“An experience to do, to live, to immerse yourself, as it would entering in a different fantasy world but that it has great similarities with reality.”
“Playing with the actors, dressing up the scene on the uniqueness of a specific location, suggesting the possibility that interacting with the show could change the course of the events (they are still mainly predetermined by a very precise and clear direction), making the mechanism of editing and building the plot a personal matter.”
“It is a dynamic and complex dramaturgical structure, that demands to the actors a great rigor and perfectly timed junctions.”
“The global scenic system - it must be defined like this, to involve every part of the mechanism- is the outcome of careful decisions. [...] The scenic set-up deserves a praise, as does the perfect timing [...] it is the result of a high-quality work”
“A dark and fascinating world to let yourself go and pick your personal forbidden flower of the night.”
“Not all the participants are on the same level. To two brave spectators per night, it is allowed to become more active in the plot mechanism. [...] Someone gets a rose, a walnut, is invited to take some drugs.”
"[...] This show is an uninterrupted surprise: it starts with exploring the set-up, objects, details, and it ends with ransacking in the corners of our own Ego, where personal impulses and desires are locked up in the drawers."
"Also this time Project xx1 scores a direct hit, even if the target is moved. The actress is convincing and involving. The individual is included in the collective in the right way; the single person is integrated in the group and within a perfectly functioning set-up actually used by everyone."
"[...] a total and compelling immersive theatre experience that turns into cinema. [...] The text is written with a excellent noir skill, technically very difficult and yet wisely built. [...] The directing is precise, attentive, and accurate but also warm, passionate, and visionary."
"The perfect synchronicity of the cast never breaks the atmosphere, not a single crack in the game or a glimmer of the outside world. [...] it eludes categories and embodies the most integral definition of immersive. Performers’ acting, at just a few centimeters from their audience, literally and metaphorically on the same level, assumes an extreme realism and a cinematographic angle. The script moves in a masterful and undetectable way also in the dialogues with the public, it swiftly quotes Romanzo Criminale (Criminal Novel) and Trainspotting, giving names to identify roles rather than characters."