Photo © Rolline Laporte

The Salon Automaton

“Sublime and disturbing. An unique piece”


La Presse (2010)

The Salon Automaton, in its English-language debut at Buddies in Bad Times Theatre, is the most unique show of this theatre season, and an absolutely world class piece of theatre”


Torontoist Toronto (2009)

“Fabulously original ! The Salon Automaton sparkles with offbeat creativity and has a twisted sense of humour …”


The Toronto star (2009)

“Ambitious artistic project, Le Salon Automate is this season’s curiosity.”


Le Devoir (2008)

“It’s a question as profound as our capacity to believe in the power of imagination that is debated in Le Salon Automate.”


ICI Montréal (2008)

“To enter into the spirit of the actress, writer and director Nathalie Claude, the most extra terrestrial member of Momentum’s collective, is accepting a singular travel, to dare explore some troubled zones of the human soul, some dark and sinuous paths… In the role of the hostess; that borrows irresistibly from Dr. Frankenstein, Hedda Gabler and Marguerite Gauthier-, Nathalie Claude is admirable.”


Voir (2008)

“Nathalie Claude approaches with humour and originality the links between humans and machines. She establish a very funny complicity with her automatons that gets us hooked in her game”


La Presse (2008)

The Sadness Trilogy—The Madness Trilogy

“Once you’ve seen anything by Nathalie Claude you will search her out in this city for another fix of her particular insanity… Her vocal tics and self-inflicted violence are both empathetic and hilarious, and her use of props is increasingly ingenious.”


Dfdance (2006)

“My personal highlight of this year, Nathalie Claude’s over-the–top brillant performance, Lapine-moi.”


Montreal Mirror (2005)

“Solo performances of inspired abandon”


New York Times, NY “Best of the year” (2004)

“Ms Claude tackles loss and melancholy in her three part “Sadness Trilogy”, in clowning that is breathtaking in its funky audacity. She inhabits the stage with such fearlessness, adroit timing and quiet authority that she draws in the audience to live with her, in her performing.”


New York Times, NY (2004)

“You really have to see her to believe it. On stage she is brillant, powerful, inventive ”


Elle Québec (2002)


“A brillant and perilious exercise, and thereby disconcerting. Two fantastic actresses.”


CBF FM (2004)

“Precise, internal, Lin Snelling complete the clownish Nathalie Claude–who, as always, has a dangerously strong presence”


La Presse (2004)

“It’s unlike anything you have seen before and it will fill you with wonder. Take my word for it.”


The Gazette (2004)

“It’s an unidentified spectacular object of great virtuosity that offer both polymorphic performers of this Limbes/Limbo.”


Voir (2004)

“Lin Snelling and Nathalie Claude are the two clowns of this mad circus. White clown and Auguste, they give this text with such rare sensitivity and intelligence… The theatrical machine is graciously organised in this spectacle of a moving beauty.”


ICI Montréal (2004)

La Fête des Morts

“An unforgettable theatrical experience, in the truest sense of the word.”


Voir (2002)

“Inspired by indigenous rituals of Latin America, this ambulatory adventure proves festive, iconoclastic and anarchical … The interest of the show lies in its carnivalesque approach of a subject that from the outset would not seem to lend, as well as in the boldness of its design and in its distribution.”


Le Devoir (2004)

“La Fête des Morts is a fascinating station theater. A march gathered between islets of lights, a ceremony of few words, in which we are also actors because it leads us to walk inside ourselves.”


Le Soleil (2004)

The Daughters of Selene

“Selene has strong girls, crazy girls, caged girls, enraged girls, always transforming, often touching… One of the most successful of Momentum’s cycle… A seductive and disconcerting study on womanhood, a sensual an often inventive foray of the female body as icons and Russian dolls, one woman always revealing another.”


La Presse (1999)

“Les filles de Séléné is a very strong, plural and ironic metaphor of the female condition and of women’s work.”


Le Devoir (1999)

“A witches’ sabbat enacted by eight remarkable dancers and actors, a very strong and multi-talented cast…Nathalie Claude has succeded in creating an atmosphere so suspensful and intense that the audience remainded transfixed to the very end”


Cahiers de théâtre Jeu (1999)

“A feminine ritual ponctuated by refreshing humour…”


ICI Montréal (1999)