Eliza Anna Falk, DC Metro

"Congratulations to the creators and actors of Antiwords for presenting a unique, powerful and highly recommended performance (...) opportunity to experience world class theatre."

Michael Begg, Total Theatre Mag.

"This is Total Theatre."

Cat Acheson, The Skinny 

"...funny, bewildering and heart-breaking."

DC Theatre Scene 

"Irreverent. Simple, yet brilliant."


Dance Is Boxing, and Vacovská Fights Like Muhammad Ali (Jakub Novák, Aktualne)

"This is no beauty-focused dance with just a few instant "boxing" elements added on, but a dance of real power (not to be confused with a spasmodic dance). A self-confident and clearly structured performance in which every muscle can be seen at work and every move is made as if this one and no other could carry the weight of artistic expression." 

Theatre Events of 2012 (Vladimír Hulec, Divadelní noviny / Theatre Times)

"A merging of these two figures with the half-improvised sound generated by a synthesizer and Lenka Dusilová's vocals and with Markéta Vacovská's extremely physically challenging performance loaded with imaginative movement and abstract physicality that unearths the existential depths of the human body and psyche."

Ali's Fists in the Dark (Tomáš Kůs, CityOutPrague)

The dance of Markéta Vacovská has its explosive moments, just like Ali's own personality and rhetoric could explode, but it constantly teeters on the verge of falling, much like Ali himself could fall when dealt a K.O. 

The Lost Body (Dominik Melichar, Divadelní noviny / Theatre Times)

"There is nothing on the stage except for two women and boundless energy. Just the dance, singing, music and sound; no words, yet saying everything that needs to be said."


13th Month Is a Magical, Hard-to-Resist Fetish (Jakub Novák, aktualne.cz)

Open yourself up to nudity – it will swallow you whole and cover you. Open yourself up to vanity, and it will eat you alive. Open yourself up to love and you’ll never be at peace again. 13th Month / Requiem for Bruno Schulz by Spitfire Company is a stunning excursion into the intricacies of the human subconscious.

Ola Koehler, Gazeta Polska

We are set up for a journey through a haunted tunnel, the likes of which abound in funny small towns. Only instead of a tunnel with monsters, we enter the head of Bruno Schulz.

Nina Vangeli, Dance Panorama – Czech Radio

The main point is the act of inventing a new dance language, new words, and new meanings and their mutual connections. This unusual language gives a new meaning to old, archaic interpersonal situations – yes, even to the erotic ones.

Schulz without the Cinnamon (Agata Tomasiewicz, e-teatr.pl)

This is a vision of an anti-humanist world, in which bodies are reduced to goods ready to be sold en masse. […] The creators’ courage in revising Schulz’s work is commendable.

In the World of Sensual, Pliable Matter (Vladimír Mikulka, Respekt)

Spitfire Company is among the most distinctive Czech ensembles straddling the line between physical theatre and “alternative” drama in the broadest sense of the word. In their new piece, dance and music doubtless steal the show, but not on the expense of the dark atmosphere so typical of Spitfire.

Lenka Dombrovská, Divadelní noviny/Theatre Times

The latest project is well done – emotional, cruel, and even cynically funny. […] Bonus points for the concert (not just musical accompaniment!) by the string quartet I have not written about until now, but which is crucial to the overall impression of the adaptation. Without it, the melancholy and the uncanny fervour of the performance would not have been as strongly felt.


The Tonight South Africa

"Communities the world over have heard of Anne Frank's story, but we've never head her voice. This beautifully written piece transforms Anne Frank into more than someone we know of through historical texts - you get to know the young girl behind the story."

Arts link South Africa

"The standing ovation was well deserved."


Julie Kočí, Dance Zone 

"Animal Exitus, a mystery of birth and death in the light of our present, can also be understood as a prayer or meditation planted into public space taht turns the audience into participants in this spiritual-physical act. Animal Exitus is mainly a conceptual installation that communicates the physical presence of the performers and the materiality of the structure without guiding the observer to any predetermined conclusion. It encourages the participants to set their own boundaries and the degree of interaction, and invites them to provide their own meaning for the unknown."


"Only at this supreme creation of movement mastery of both, performers it is possible to see an intimate reflection of self in the alien."

Economic newspaper

"It is pleasure to look at how their bodies transmit physical sensations, movement, how they struggle ... LIketwo straws exposed to a sharp wind of emotions."


Julie Kočí, Dance Zone

"In this performance, the group displays a motif of escape in its ambiguity and immediate physical bareness. It looks at escape through running - a basal association that the word escape evokes. The physical experience of running structures the performance in its material / "tangible" concreteness. It is at the same time expressed as a metaphor of an exhausting trip, a strenuous struggle for survival and maintanance of certain values and principles."

Nina Vangeli, The Theatre Newspaper

"The Spitfire Company ensemble gained a significant position on the Czech dance and theatre scene, as well as a good reputation abroad, which obliges. They are an artistically ambitious group in the noblest sense of the word, sensitive to the wounds of the times, intelligent and aware. Sniper's Lake is their prominent project."

Julie Kočí, Dance Zone 

"The Sniper's Lake concludes the Spitfire Company trilogy in the spirit of conceptual art. At the music, body motion and scenic imagery level and at individual action level, it develops parallel associative zones that are united into one concept."


Zuzana Rafajová, Kulturissimo

"“The experience one gains from The Narrator is physical in its nature. The intensity of the emotions the performer has to cope with is so strong that it allows no discussion.”

Lucie Kocourková, OperaPlus
“The energy of the perfomer seems endless.”

Alexandra Gray, Everything-theatre.co.uk 

"A peerless piece of physical theatre. Set, lighting, and live music integrate perfectly with a performance of formidable emotional power."

Robert Mapplethorpe, Edinburg Dance Review, www.theguardian.com 

"The Narrator is harrowing, but it walks a precise edge, and never dissolves into incoherence. Instead, it reveals the hard, abrasive texture of a woman’s anger, and lays out, with pitiless exactitude, the topography of her pain."

Marie Brennan, Fringe Physical Theatre, www.heraldscotland.com

"GOING to extremes seems to be a default position for any work presented by Spitfire Company, returning to the Fringe as part of Czech Showcase 2017. In The Narrator, the most obvious extremes are the physical ones that French performer Cecile da Costa subjects herself to: standing cruciform, refusing to let her wrists buckle under the weight of hand-held bricks, totally immersing herself in a ank of water, then – still soaking wet – rolling over and over in gritty sandpit. There are other scourging ways in which she takes her flesh and stamina to the limits, revealing the grief and guilt that constantly afflict her over her unborn children. Their loss seems connected to a murkly past, else why would this tiny black-clad woman harrow her body with almost medieval acts of penance and purification, her voice keening with an intensity that on-stage musician Jan Sikl sends looping and echoing through his own atmospheric sound-score. Exposing her innermost secrets doesn’t, however, mean she forgives herself – even when she’s silent, her sould is howling."

Emma Brand, The Narrator at Zoo Southside, www.theatrebubble.com 

"Da Costa’s physical strength is also breathtaking. She uses a hammer to painstakingly smash through a pile of bricks, determined to get to herself. In the end, having immersed herself in water and coated herself in sand, she rips up to stage to create a mirror along its back edge. She stands before it, exhausted, creating a vision of identity that leaves an impression long after the show has ended."


Josef Herman, Divadelní noviny 

"The tectonics of the song is based on the principles of editing in an attempt to capture simple situations in human life, that are at the same time crucial and existential, and that we usually admit to ourselves and meditate on only at the end of our life. That is how I defined the meaning of the name of the song: life constellations that we experience before we learn the truth about them."