“Sensationelle Auftaktpremiere auf Kampnagel”
- Die Welt (German)
“Vor allem aber kann man nur Stauen über die Raffinesse, mit der die norwegische Theatergruppe ein naturalistisches Kammerspiel und Psychodrama fast unmerklich in Fiktion kippen lässt und die vermeintliche Realität nahtlos in eine albtraumhafte Surrealität zu verwandelt.”
- Kulturport.de (German)
“Die urkomische Verwandlung von Prospektferien in Horror erzählt dabei sehr vielschichtig von den Folgen jener Ignoranz, die wir unser Recht auf Konsum nennen.”
- Süddeutsche Zeitung (German)
“This complex package of neo-Gothic existentialism and theatre magic is so readily and gorgeously presented that you constantly shift between seeing is as elegant entertainment theatre and something more profound, more meaningful. It creates an baffling effect, and is a delight to watch.”
“After Baktruppen, as Brecht, Handke & co before them tore down the fourth wall again with their post-dramatic theatre, the members who now constitute Susie Wang have the opposite agenda. They experiment in building it again. And it's an absolute success!”
“Do you miss being able to go on a tropical holiday? Susie Wang's new horrow-inspired theatre production "Licht und Liebe" will soon cure you of your desire.”
“I can safely say that I’ve never seen anything quite like Burnt Toast (…) a disturbing yet tender tale of love and cannibalism.“
“Honestly, to this day, I am still in shock from what I experienced on stage last night and my hands still hurt after the final applause.”
“With Susie Wang, the chills caused by the well-managed hatching of blood and liver, the laughter caused by such terrifying nonsense, and even the most unbridled romanticism are equally guaranteed.”
“Love, in all its forms, like cannibalism is a force that sucks everything. Chekhov’s suitcase turns out to be a black hole.”
"Burnt Toast brings a really new, evil-naive imagery to the stage, where B-movie cliches, political depth psychology and Zen atmosphere are surrealistically compacted.”
–Berliner Zeitung (English translation)
–Berliner Zeitung (original)
“The Oslo troupe Susie Wang is refreshingly uninterested in neither political interventions, nor post- or anti-dramatics. With "Burnt toast" they deliver a splatter-horror-psycho-scary show of the finest kind.”
–Nachtkritik.de (English translation)
–Nachtkritik.de (original)
“The insidious – or also the refined nature of the narrative style is that it triggers contradictory emotions, that the cruel actions can also be seen as the initiation of a love story. “
–Die Tageszeitung (English translation)
–Die Tageszeitung (original)
“Was als bemerkenswert sinnfreier Smalltalk zwischen den Geschlechtern beginnt, eskaliert bald in eine psychoanalytisch aufgeladene Gewaltorgie unter Vampiren, die in schönster B-Movie-Manier bühnentechnisch ausbuchstabiert wird.”
“Das ist das geniale an Susie Wangs Horrortheater. Sie macht das unmögliche möglich.”
“Danny and Violet will make you laugh, make you wonder, make you shudder” (…) Susie Wang repeats and exemplifies at her sharpest until only the sound of breath and pulse remains.”
There is something timeless and old- fashioned about this expression, a combination of something grotesquely transgressive and fine-tuned theatre. All elements and details fit perfectly together as in a jigsaw puzzle.
Susie Wang’s latest horror show «Burnt Toast» is of a rare breed – existential B-movie splatter theatre for adults.
I am deeply fascinated by this performance. It utilizes the theatre’s possibilities to explore directions that have rarely been seen.
“Mummy Brown is a whole new story, but it is just as weird and bizarre as the first one. And it's excellent theatre! (...) Not only does Susie Wang take imagination seriously, but also art, theatre and what may be at the bottom of it all: playing.”
“In this theatrical fantasy, the audience become augurs, whose imaginations conceal the real abysses, the true black holes. (…) The art here is in the fears of the beholder.”
“Theatre horror at its best – Mummy Brown by the Norwegian group Susie Wang shocked at the International Summer Festival at Kampnagel.”
“Afterwards you won't see a Museum Attendant with a harmless look anymore.”
"Bizarre and fantastic fiction. (...) The atmosphere is playful but dark, even unpleasant and threatening at times."
"Even though it has nothing to do with a lifelike representation of events, both scenography, technical effects and acting substantiates the illusion of being on a beach and that the things going on, are real."
“Through the content of the dialogues and small events that unfold, the madness emerges. And without a single word being said, a strong sense of doom is embedded in everyday life.”
– Klassekampen (Norwegian)