(…) groups form by ‘aggregation’ and ‘separation’, and duets and trios disperse in a glowing dynamic flow. The red of the vivid costumes is set against the dark scenery lit by Carlo Cerri and the flashing movements of the dancers take on sharper, almost sculptural outlines. (…)
Silvia Poletti, Danza&Danza, June 2015

(…) Spota arranges his dancers first in small groups then increasing their number until we see the whole of his large company, who are almost always on stage, creating pas de deux and amazing spotlight solos. There also excellent pas de trois and pas de quatre, all created around the equilibrium of a female body stretching skywards. The montage is concise, fast and continuous, in a process of constant gemmation. (…)
Giuseppe Di Stefano, IlSole24Ore, March 26th, 2015

What is striking about this young choreographer is his ability to alternate the company’s presence on stage with pas de deux and the flair with which the extreme lyricism of the ensemble passages is answered by the delicate poetry of the pas de deux. Spota knows how to handle dance. He has a light, gentle touch yet captures the fluidity and dynamism of contemporary language in the entwined bodies – apparently wrapped around themselves – which soar into space in extremely fast passages – leaps, jetés, attitudes, penchés – and in elegant and meaningful gestures. It is a lovely ballet with authentic, honest, true dancing that reflects Spota’s principles.
Gabriella Gori, Drammaturgia.it, March 30th, 2015

A surprising work (...) a frenetic search into the infinite possibilities of links, as the title suggests: LEGO. Spota is a talent who will surprise us again in the future; we already acknowledge his originality and compositional strength, where he re-elaborates his experiences as a dancer, from Kylian to Naharin.
Daniela Bruna Adami, L’Arena, Decembre 4th , 2015

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