“[Macras] refuses to exclude ambivalence in favour of a linear message. Her performers are not your nice and average sort, but real characters: there is Rajmund, who underwent a sex change to become a Fatima; a dancer whose appeal lies in his corpulence; a couple of cheerful machos and a few women who manage to elude the macho system. The music does away with folkloristic cliché and shows its true identity, as does the dancing, which blends the contemporary with tradition. And the fact that all this seems like the most natural thing in the world is testament to the work and trust involved.” Der Standard, May 2012
“In the show’s programme, Macras claims to hate the “theatre of commiseration”, and she manages to tread the fine line between being deeply moved and falling into commiseration without ever stepping over it. Her two years of research have resulted in an evening full of lust for life and music, a Roma revue that nonetheless refers to poverty and dearth of opportunity in powerful images and with a sense of self-irony. Wiener Zeitung, May 2012
“Rather than [...] over-simplifying discourse, the show presents a series of stories, almost always bitter ones, told by young women who have to bring up their children alone and fight for education, by young men who can’t escape the cycle of drugs and prison, and by Raimund, who became Fatima.” TAZ, May 2012
“The incredible amount of preparatory work that Macras carried out with her team is there to see in the accomplishment of the end result. On a journey across Hungary, Slovakia and the Czech Republic, she sought out the 17 Roma musicians, dancers and amateur performers who along with five dancers from her own company (from Israel, Germany, the Netherlands, Canada and South Korea) have pulled off a weird, wild and wonderful show.” tanz.at, May 2012