“ Mercurial George takes us into the crazy world – and sometimes quite comical – of theMontreal performer, often described as a free electron, not without reason (…) An intriguing and marginal artist that will be interesting to follow in the future. “ La Presse, Montréal (Canada)

‘’ Mercurial George is the work of an artist who’s in command of her subject, conscious of her body, of her ethnic and cultural identity, and of her difference too.’’, Montréal (Canada)

“There is in Mercurial George a clarity of position that is rare.” Le Devoir, Montréal (Canada)

‘’Performing artist Dana Michel dares to create beyond the beaten track with a body that rejects virtuosity and gestures devoid of delicacy. Simply, by using objects in unusual ways, she transforms banality into something interesting, turning our attention towards seemingly futile things. She inhabits marginalized characters that question our understanding of what is normal. She presents a tribute to difference and non-conformity with an inventive and unconventional performance.’’ Df Danse, Montréal (Canada)

“Michel reveals the absurdity of stereotypes as they coexist and contradict themselves, showing us that the lens through which we view the world is nothing more than a fun house mirror.” Local Gestures, Montréal (Canada)

“Dana Michel is a real original, peculiar to the nth degree and remarkably compelling onstage. She scarcely dances; she scarcely speaks; her manner is oblique. (…) She was the one important discovery of the American Realness Festival at the Abrons Arts Center in January. ” The New York Times (États-Unis)

“[…] Ms. Michel’s “Yellow Towel” was engrossing. Offbeat in the extreme, it cast an imaginative theater spell that recurrently evoked the great New York performance artists Eiko & Koma, while showing Ms. Michel’s intense individuality. Like them, she at once creates a world, strange, enthralling and often consisting of small movements. Unlike them, she talks, is sometimes funny, and changes persona. A Canadian artist, Ms. Michel has a manner onstage that is largely oblique. She often moves and speaks as if either act were problematic. But every stammering noise, every strained movement demonstrated powerful imagination and psychological force.” The New York Times (États-Unis)

“The performer is prodigious in this tragico-burlesque portrait in which her out-of-tune body is developed in a series of tableaux that let meaning emerges from slowness. This show is very personal and deliciously funny in an offbeat way. It confirms the talent of an artist who refuses to compromise and dares to invent her own language.” Voir, Montréal (Canada)