Big in Bombay

It is about show business in the Third World which also includes India and Argentina. It is about the connection between politics and show business. Corruption here is a part of every-day life so people respond to it by very open humour. It is, on the one hand, the only that we are cheated but that is the way the life is. And to add the paranoia of the middle class people that it is them who will meet all the catastrophes of the world they see on TV.
Camilla Hildebrandt, Radio Deutschland

The initial material for the performance was the fascination by the colourful, sweet, chocolate-box-like epics of Indian Bollywood films... distinctive eclecticism is shamelessly offered from all possible models, from spaghetti-westerns to old legends, to tell its own stories. The places are changed swiftly, the flashiest total art: Disneyland. And these penetrating and synthetic pop-worlds are mingled with records from slums in Bombay, news about Argentinean economic crisis and problems of teenagers.
Peter Leudenbach

The cult of “popstars” and cultural identity are the main motives of the newest production by Constanza Macras. Far from their roots, the performers hope for the great chance of their lives. On their way to the recognition and success, they accept roles believing that they would fit the image and idea of the "popstars" of the culture that is unknown to them. Big in Bombay is a theatrical Tour de Force about intercultural projections, hopes and own identity.
www.kzwei.at

A rapid play with all what's on the spot: Dance styles and pictures. The threatening calmness of the beginning quickly knocks over into activity that may be aggressiveness. .an aggressive show choreographer with broad grinning, violence lurking everywhere – and it is always arising as slapstick. Over and over pictures of global and private catastrophes show up: natural and human disasters. Frazzles of images, supercharging of significance: a bag on the head – Guantanamo. Scattered bodies on the floor – victims of tsunami. Somebody without limbs – Somalia, maybe... Just Macras' wild eclecticism, her eagerness with her own images, her tourette-like fantasy protect her against vein poetry and pantomime lyricism which is shaping dance theatre so often. Her imaging is disrespectful, her investigation in India is not a reverential gazing of the other culture ... also in Bombay Macras is interested only in herself, paradoxically bare of all vanity.
Florian Malzacher, Theater Heute