A fascinating show of warnings, wittiness and songs but also an Oratorio of poetry, spirituality and memories, an instructive catalogue of questions, unease and songs full of longing, Ballad of the Millennium's End by Mara Cantoni and Moni Ovadia can be defined as a striking and lyrical Cabaret dealing with the illusions of a century, our century, which coincides with the end of a millennium.
(Rodolfo Di Giammarco,
la Repubblica, 22 march 1997)
This touching show, so Mittel-European and at the same time so internationalistic, which makes fun of Hitler, the Nazis, the Fascists, Stalin, planification and the false myths of our day, is like a how-to book of political theatre: signs and slogans, agit-prop megaphones, songs (...) In this voyage through the years and events, the pain and joy, the loss of all illusions, the struggles, punctuated by the yearning dances of a couple dressed in black, we find the whole meaning of a journey which unites us and divides us, made of solidarity and thought.
(Maria Grazia Gregori,
l’Unità , 20 february 1996)
We find here a century which on its way out makes an inventory of its own dusty attics, ideological or not (...). But on that stage, between a sign and a megaphone, between the cabaret of Karl Valentin and a few pages from Mayakovsky, we find an acute meditation on the present and, perhaps, even the future. It talks about us, of the men who will inhabit the new millennium, of the folly of this world we are bequeathing to our children (...). Allen Ginsburg would have appreciated this show, so poor and yet so rich, which addresses our intelligence while touching the strings of our heart.
il Piccolo, 10 april 1997)
This show is so full of grace and of such violent intensity it quite literally carries you away.
La Stampa, 2 march 1996)