Sylvie St-Jacques, La Presse, May 2007
"Playing with perception and “codes of the visible” are trademarks of Le Pont Bridge, which in Frank Ketchup weaves a language that blends cinema, television and theatre. It is a work that causes us to reflect on the promises, utopias and possible dangers held out by “scientific religion.” Frank Ketchup is far from being a work that preaches to the converted. It is a piece that propounds no “ideological argument” or committed position, but that still questions the disturbing practices that go on all the while in pharmaceutical company laboratories."
Louise-Maude Rioux Soucy, Le Devoir, January 2007
"Another Quebec artist completed the sextet presented yesterday, namely the artistic director of the creative unit Le Pont Bridge, Carole Nadeau, who is well known for unusual projects. With Frank Ketchup, Carole Nadeau ventures into new territory that explores foreseeable and unforeseeable genetic engineering errors."
Sylvie St-Jacques, La Presse, June 2007
"I abort you, you inseminate me, she manipulates me.” This is a very polished production on the visual level that works by bringing together four protagonists in a “bio-technological plot” in a large box that is subdivided into nine compartments with portable panels that also serve as screens. The esthetic aspect is very pleasing and video is skillfully used. The subject is complex and even a little dull, but Norman Chaurette and Carole Nadeau adopt a light touch in weaving a story that focuses on two scientific sisters who start up a private fertility clinic called Ova. We watch the tribulations of a family who possess a combination of great wealth, extraordinary talent, beauty and intelligence. There is a Machiavellian dimension to this story of the good, the ambitious, the base and the cowardly. Afterwards, when you start discussing all the issues on the way out from Espace Libre, you realize that Frank Ketchup is a work that confronts and disturbs "
Lyne Crevier, Ici, May 31 to June 7, 2007
" However, this playful but deeply pondered work is not just about biotechnology, but also about its corollary, ethics. Because how can you possibly reflect
on this century, with all its new upheavals, without inevitably thinking of legislation on the matter? (…) unlike the Nineties when a
multidisciplinary approach was more like a large variety of parallel languages, in Frank Ketchup the combination of theatre, installation and
video is a sort of happy cohabitation of all these elements constituting “a single theatrical work.” In brief, Frank Ketchup is the
real Heinz!
"
