The opportune moment.

Winnipeg Free Press - July 2017

★★★★1/2 Review

In one hour, Toronto’s kairos theatre takes the "broken-home kids go bad" formula to an extraordinary new level.

Writer/performer/directors Natalia Bushnik and Robin Luckwaldt Ross play two young sisters who watch their immigrant dream dissolve when their father deserts the family soon after arriving in Canada. The mother spirals into alcoholism ("She wasn’t a human being anymore") and the girls descend into drugs, depression and delinquency. In twisted desperation, they start thinking that "putting her out of her misery" would be an act of mercy, and the insurance money would finally give them a better life ("It wasn’t about getting good things! It was about getting rid of bad things!").

The acting is very good and the physical theatre equally impressive. The tactic of mesmerizing, ballet-like moves abruptly punctured with stabs of gasping and twitching appears unrelated and aggravating at first, but later reveals an appalling significance.

A complex and polished performance technically (the tech guys get a well-deserved nod) and artistically, this is one to see.

— Janice Sawka 

CBC, July 2017

★★★★ Review
They're strong performers, and flesh out complex and sympathetic characters here. The piece itself can feel overwhelmingly grim at points, but it's also often eerily graceful and strangely hypnotic.

A dark but compelling piece of theatre. - Joff Schmidt

FringeReview, July 2016

"The complicity between Natalia and Robin is truly phenomenal. The text is punctuated with moments of choreography more synchronised, and more infused with meaning, than much of what I’ve seen amongst top professional physical theatre and contemporary dance companies. Their understanding of pace, of levels of tension, of letting the silences ring out as loud as the words, and of reeling the audience in and keeping them hooked, are top-notch and inspirational. The sheer breadth of the storytelling they achieve, in space, time and emotion, is all the more impressive when you realise that the playing area they use throughout is no more than about a metre and a half square, and the only prop they have to help them is a white bedsheet." - John Hinton, FringeReview