The Times ****
'funny, moving and unique'
'disarmingly skewwhiff...slightly ramshackle and hugely affectionate'
The Scotsman ****
'as moving as any funeral I've ever been to...When I got up to leave I scanned the house for a dry eye, but I couldn't find one anywhere.'
'Fredricksson evokes her father so vividly and unsentimentally that by the end you feel like you know him; and for a moment or two, after the stage has gone black, you'll grieve his passing as if he were an old friend.'
The List ****
'As he was not a conventional man, Fredricksson does not attempt to tell his story in any conventional way. She jumps hurdles, bounces on a trampoline, and dresses up in drag to create comic characters, just like her father did. She works a small puppet tenderly to reproduce the infirmaties of his old age, creates movement pieces out of songs and gestures she associates with him, and somehow, out of this utterly shambolic patchwork, something raw, touching and almost painfully intimate emerges. The whole audience, and this reviewer, were weeping by the end.'
Three Weeks ***** review
'truthful, sincere and deeply moving.'
TIME OUT *****
'As you would expect from a man whose personal motto was 'life is too short for anything but ecstasy’, Karl's life story is a fantastically wild one.'
'A live art extravaganza comprising narration, film, cardboard cut-outs, wild movement and delicate puppetry, this was a one-woman-wonder portrayal of the creator’s father, Karl a man who – quite literally – showed his bloomers to orthodoxy.'
the intensity of the love felt between father and daughter, with a gut-wrenching rawness that left the audience weeping'.
'an hour of inspired, magic theatricality.'