In "The New Statesman", Judith Palmer described the piece as 'part art installation, part visual theatre and part fairground ride - a purpose-built train whisking audiences 20 at a time through a magical environment of optical illusions and performance vignettes...In silk kimonos and jaunty tutus, a succession of powdered lovelies wafts silently in and out of our vision - reaching out through broken windows, floating above station platforms, sinking into the floor, or spinning in midair...women contorted into small spaces, cut in half, suspended between realities, lost between border crossings.'