The solo-performance – opera Isadora takes place at the isolation ward of the mental hospital, where a young woman was recently brought into, reasoning about her hatred for ballet and love for convertible cars. Soon an important circumstance surfaces: as a teenager she had read Isadora Duncan’s book My Life and it became the book of her life, which she thoughtlessly followed. As the woman narrates her story it becomes apparent that the loss of identify and dictate of warped consciousness impelled her to commit a horrible crime.
Creative team that has gathered for a joint work for the first time was inspired by the life of the modern dance pioneer Isadora Duncan. However, the performance does not tell about the life of the legendary dancer, but rather narrates a story of a woman fanatically fascinated with her, who eventually loses her identity and starts seeing herself as the dancer, all contained in the character created by Agnė Sabulytė.
To be seen for an entire hour, but to see nothing, to lead the action with nothing to disguise behind, to be sort of naked in front of the hall full of dressed audience – it is not that simple, but A. Sabulytė has brilliantly accomplished the task, sincerely and directly conveying the madness of a woman locked at mental hospital.Goda Rupeikaitė, Alfa.lt
Isadora radically and recklessly questions the definition of opera, getting dangerously close to genre perversions and finding itself at the farthest margins thereof (some doubt regarding genre is also felt by the creative team, who define Isadora with a heavyweight title “mono drama-opera”).Asta Pakarklytė, metraštis „Lietuvos teatras“
Dubbed mono drama-opera the entire piece appears as a play with diverse theatrical and musical elements, strung on a single thread by Agnius Jankevičius, who, deliberately or not, remains in the background. Meanwhile, the foreground is occupied by Agnė Sabulytė, who plays the character of a mad woman, sometimes lacking, but still solid.Sigita Ivaškaitė, Kulturpolis.lt