The Chicago Tribune
It sounds hokey, and might have been, but Eifman, no stranger to going overboard, manages here a series of living allusions to various Rodin works that make for impressive, original dance imagery. His musical selections, meanwhile, are deliciously choice, pieces by Rodin's fellow Frenchmen Camille Saint-Saens, Maurice Ravel, Claude Debussy and Erik Satie. They're mostly chestnuts, sure, but they make for a great score: Where else would you see a choreographed pillow fight, enacted by inhabitants of an asylum, accompanied by Saint-Saens' scrumptious "Danse Macabre"?
The Chicago Sun-Times
There are sequences in this ballet that instantly imprint themselves in memory: The shapeless mass of nearly nude bodies that gradually are prodded into defined shapes as an arm, a foot, a head, and finally full igures emerge; the famous sculpture of "The Kiss" that takes form literally and figuratively as Rodin and Camille embrace; the monumental tableaus of the artist's studio, with silhouetted laborers positioned on scaffolding; the framework for "The Gates of Hell" against which Rodin flings himself; a raucous, deconstructed can-can. The large ensemble sections showcase the power of the corps, but this work is really about a tormented triangle.