Here some reflections that have been written about the work:

“The quality of attention of the five performers allow each spectator to receive the proposition written in the night program: “Comfortably take a seat, and let the coincidences lead the rest”. We are linked one to another by the acuteness and the empathy we develop one towards each other and towards ourselves. (To) Come and See questions this attention, raising possible tensions, but mostly eminently inner and personal emotions and sensations. There is in this attention, a quality of presence to oneself, to the other and to time, that make it a major actor of our emotions. This is the path on which Eilit Marom, Anna Massoni, Elpida Orfanidou, Adina Secretan and Simone Truong carry us with lightness. Surprising sensations.” Fanny Brancourt in The Arts Chemists - 22/06/16 - Rencontres Chorégraphique internationales de Seine-Saint-Denis

"[The performance] is about appreciating which space is made through a subtraction of the masculine, what becomes of that space which appears and what kind of performativity arises. [...] We feel something coming. Something that would come from somewhere else and differently than in a “to come and see”. Something that would be a patient work on delaying. That would cultivate sensuality as an art of the attention to the other. That would prefer to maunder into diversity rather than rushing forward. That would ignore prior designation, or at least the priority of a goal, the exigency of a resolution, the wish of a climax.[...] We find in (To) Come and See the possibility of experimenting and feeling a collectivity with moving contours, offered as an accompaniment to the spectators, beyond the obvious games of univocal seduction.” Gérard Mayen - A subtraction of the masculine.

“This piece has a way of generating energy and warmth by manipulating the elements of theatre. [...] The interaction between the five dancers is transparent; it creates the impression that you look right through it. Nothing seems solid enough to claim a capital status.” - Camiel van Winkel - Saliva trees, or how I fell in love with a dancer, or thought I did.
 

“(To) Come and See played with physical stillness, presence and absence of the body, and direct address in ways we rarely see on Brisbane’s stages. The piece opened with the dancers scanning the audience for the person they would most like to sleep with and voicing their feelings of attraction to their desired person. The anticipation and discomfort was palpable as the audience collectively tensed its body, embarrassed by the display of eroticism and the declarations of admiration landing on it. This epitomised the power of dance to affect its audience, while brilliantly challenging the styles and forms of movement commonly associated with emotional expression.“ - Alana Tierney in Arts News - 2/03/2017 - Supercell Dance Festival, Brisbane.