© Danièle Pierre
© Danièle Pierre
Cie Mossoux-Bonté

Audience reactions

The cast as dressed as gallery attendants, and move together a group while becoming gradually infected by the demonic presence of Goya’s terrifying pictures. The show is a cavalcade of imagery bound together by fluid movement, dance and puppetry that combine to create an experience almost unlike anything else. The tableaux follow fast upon one another – the gallery staff beating a collective rhythm with the short sticks they carry, a young girl wielding flags and religious objects, the staff becoming more dishevelled, removing their uniform shirts to slap the floor in unison (…).

The Great He-Goat is inspiring and totally absorbing, reminding us if we needed it that Northern Europe, and Belgium is particular, has a vibrant performance culture (…). We really could do with more of what their best companies have to offer. Two nights is not enough.

Tom Bolton / January 2023

 

[The Great He-Goat] aligns heavily on the ‘uncanny valley‘ theory, the idea that something which imperfectly resembles a human will draw a sense of horror, unease or revulsion. In this 70 minute show there are life-sized partial human puppets manned by one or two performers, supernatural effects achieved with the use of replica limbs and lighting, and still more techniques to evoke this response (…).

I absolutely loved it. I was captivated throughout, and couldn’t wait to see what each new scene brought. The dancers’ commitment, as well as their added sound effects and singing, were superb. Dark and strange and surreal, as it reached a ritual-like crescendo I felt truly energised by the unbound creativity and skill behind what I had seen.

Erin Caswell, Salterton Arts Review / February 2023