About Great Expectations:

 ...the fantastic almost uncomfortably life like way the pupeteers are able to move their puppets...the play between the two is sublime. In a combination of the grotesk with finness, the puppeteers throw themselves into the lives of the puppets and their possible movements. Like giants playing with Lilliputlians. And it wouldn't surprise us if at any moment, the puppets themselves began to breathe or blink. They are that real, even when left to themselves.
Henrik Lyding, Jyllandsposten, København

 There are moments of unspeakable beauty in Hollow Creature's «Great Expectations». Moments where the controversial American writer Kathy Ackers poetry, attacks themes such as memory, identity, and knowledge, and cuts out a crystal new reality, with her inventive, hypnotic, word streams. Nervously we enjoy the way the words ripple over your sences, stirring memories, like mirages. And suddenly we face the unexplainable facts of love. Erotisism speaks, even through a hand movement, but their lovingly painful and lonely choreography, never aproaches the pornographic. Quite the opposite, «Great Expectations» is a mental project, which with the body and its desires, as a point of departure, looks behind the scenes, and under the skin. Hollow Creatures seems to be in the process of an exiting study into the an exiting research with foundations in the theare.
Me Lund, Berlingske Tidende, København.

 Ackers universe is not for the faint hearted, with her texts, she encourages a re-evaluation of who we are, with her boundry pushing texts often set in a nightmarish scenareo. Hollow Creature's puppets are extrememly life like as they crumple together...The soulfull face of the puppet seems trapped as the puppeteers manipulation of underlines the life line between them and the wolfish power they have over them...
Christian Lund, Politiken, København

 There are moments when it seem the puppets are leading the puppeteers! On a stage which seems like a smart sushi bar and at the same time a graveyard, the puppets are manipulated in a dream states, as quircky images are thrown over the back wall, and manipulated sound paints the atmosphere, and we here clips of Ackers texts, on going, longing, with a peculiarly perverted poetry. Very fascinating...We see the puppets, they seem to look back at us - searching, ruffled and slow.
Birgitte Grue, BT, København.

 Great expectations delivered on its premier. A partnership performed perfectly.
Lofotposten, Nordland

 In this performance Ackers raw texts stand in contrast to the puppets poetry...To set side by side the brutality of the texts with the naivity of puppetry gives the performance a density of expression which penetrates the soul. The puppets breathing with their stomaches and spreading out their limbs. At times the puppets seem more alive than the puppeteers...Hollow Creature gives one access to the soul, through a vission of the world.
Grete Indahl, Klassekampen, Oslo

The brutality of the texts together with the naivity of puppetry gives the performance a density of expression which penetrates the soul. The puppets breathe with their stomaches and spread out their limbs… at times thy seem more alive than the puppeteers...
Grete Indahl, Klassekampen, Oslo

A performance about power and lack of power... The metafors are literally pouring towards you from the moment the lights go down. The puppets are allmost shocking humanlike in their grotesque deformations and in their helplessness.
Kathy Acker is a revolutionary in language. The fact that it's possible to make her text so physical without being vulgar is more than a little surprise.

Dagsavisen, Oslo

It is as the performance turns the mirror towards God: If it's true that you have created us in your picture, then you really should be taking a good look in the mirror.

Vårt Land, Oslo

The actors give life and soul to the allready very expressive puppets of different age and beauty. It sends shivers down my spine to see the puppet tremble with anguish without it being possible to see how the manipulator does it.

Aftenposten, Oslo