[…] Yet The show must go on! , as Jérôme Bel demands in his performance, which is poised between a happening on the one hand and Big Brother's disciples' lesson in self-representation on the other. After only four performances, what is happening on stage has to a great extent become detached from what is going on in the audience. The real drama is unfolding in the hall. Every evening members of the audience start dancing in the hall or climb on stage to let rip there.

From the very first night, the show distinctly split partisans and adversaries into two opposing camps. “Load of shit” and “Rubbish” some shouted, demanding that Stromberg give them their money back, while others loyally chorused all the pop songs of recent decades that a DJ was playing with fundamental and aggravating thoughtfulness. That in itself put people into a really good mood On top of that, the actors-cum-dancers played holiday camp monitors and acted as if, facing the audience, they were seated in front of Big Brother's cameras.

Just between ourselves, let it be said that there was obviously a third group there, made up of those who were quite simply enchanted by Jérôme Bel's non-show, without however exposing themselves in an exhibitionist manner. They were doubtlessly scarcely noticed. The best thing would have been to put on Jérôme Bel's clever performance only once, as the finishing piece of an otherwise relatively tired fireworks show.

Monika Nellissen 06.10.2000