1st Prize at Be Festival - Birmingham 2015 | Listed in The Guardian's “Top 10 Comedy 2016” 2nd Audience Prize Mess Festival – Sarajevo 2015 | 1st Prize for contemporary dance Sarajevo Winter festival – 2013 |2nd Prize Next Generation festival - Padova 2013
“What if the show itself, as a production system, is cut? Cut the performers, cut the technique, cut every frill.” The number “5”, in esotericism, symbolizes universal life, human individuality, will, intelligence, inspiration and genius. It also symbolizes the vertical evolution, the progressive ascending movement. According to esotericism, the number “5” represents man as the median point between earth and sky, and indicates that the ascension towards a superior condition is possible. It contains the synthesis of the five senses, the number of fingers of a hand, it is the basis of decimal mathematics, it is the pentacle number, and the number of the five-pointed star. It is the number of human kind, a number to which men have attributed transcendental meanings since the beginning of time. But today there's the crisis...
Brian Logan - The Guardian – 5/04/2016
“[...] one of the shows of the year with Quintetto. It’s not billed as comedy: has that made it more humorous? [...] but it’s the execution that distinguishes Quintetto. The uncertainty those acts generate about what it is we’re watching – the rug-pulling, shape-shifting state of their art – allows them to simulate and intensify the kind of laugh you have when funny comes at you completely out of context. That’s the kind of laughing I was doing on Saturday night, when Chenevier’s performance posted a glorious reminder that there are expertly funny people working across the performing arts [...]”
Amy Young - Theatre Bubble - 4/04/2016
“[...] Marco Chenevier's explosive energy throughout Quintetto was a sight to behold. [...] Chenevier demonstrated his razor-sharp wit with uproarious, improvised one-liners in response to every mistake. Though I had never seen or heard of Rita Levi Montalcini before this evening, Chenevier’s representation of her was wondrous; donning a green blazer, brown stockings and a hair full of baby powder, his hunched body and pursed lip certainly seemed to embody at least a fully-formed, hyper-realised version of the beloved scientist. But when the comedic side of his performance subsided, we were at last able to see a gorgeous display of dance, performed with majesty and purpose. Chenevier’s talent for comedy and choreography were undeniable, and was a glorious end to an evening full of exceptional artistry.”
Luke Davies - Plays to See - 4/04/2016
“[...] The final piece is a definite highlight. [...] chaotic, hilarious and at times even touching – there’s something unavoidably affecting about a room full of strangers coming together in this way (however daft).[...]When the prevailing mood within popular entertainment is audience passivity, work like this feels innately political: showing two fingers to established conventions and demanding on reinstating the direct relationship between performer and spectator that makes the performing arts so unique.”
