The work is a delight… full of the unexpected and the virtuosic

The Age

This high-action, high-colour work began with an intriguing and universal premise that “happiness is our most singular human pursuit” and it is an objective to explore human happiness. Nine performers give their individual take in dance and movement in the pursuit of this elusive state of ‘being’ and succeed in different measure to raise our doubts and assuage our queries…Each dancer brought their own strengths to their definition/search. The internalised and infectious glee of Ghenoa Gela; the intriguing chalk drawing and taut emotions of Dean Cross; the constant caring and gentleness of Miranda Wheen; the maniacal dream ballerina of a loose-limbed Harriet Ritchie; the surly expression and glorious one-up-manship of Matt Cornell; the joy, elevation and vivacity of Josh Mu; the crazy roller-skating hippie of Lee Wilson and the meticulous Marnie Palomares ultimately connected in a robotic street dance in tight unison.

Capital Times

…a show like this throws colour onto the confusion and asks us to celebrate our differences, enjoy some of 
the small things and think about what we plan to do with this wild and precious life

Lola The Festival blogger

Watching the episodes that Mr Parker and his Performers have selected is an easy task of wonder and appreciation. The individual gifts of the Performers are mesmerizing and individual enough to keep one delighted and then the subsuming of the eccentricities for the choreographing of ensemble energies of ‘dance’ are expert enough to be exhilarating. The work has a feel of a refreshing dousing of cool water on a hot and humid day

Kevin Jackson’s Theatre Reviews

…it’s one of the highlights of the 2010 program. It doesn’t ‘interrogate’ or strip a major classic down to rubble and rebuild it. If it shows off it’s in the cutest, nicest way. Humane and humorous it avoids the grandious, the large statement: but it’s no less rich in texture, commitment from the artists, or craft because of that. Enjoy a happy ending that is well and truly earned – by both audiences and performers.

James Waits

…the audience couldn’t help but laugh out loud. Not only were there some great original choreographic segments, but the musical accompaniment was mesmerising. The use of the violin in the original score was haunting, and the choreography at some points was so in tune with the music that it kept you leaning in, on the edge of your seat…exciting.

Dance Informa