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“Chronicle of a sexual trip, played with the highest level of sensitivity.”

(El País)

A success that moved up the theatre chain.”

(The Guardian)

“An eye-wateringly sexy show . . . The solo drama is based on Toni Bentley’s best-selling erotic memoir of the same name, a book so graphic it would make fans of “Fifty Shades of Grey” blush . . .  Swiss actress  Stoffel, who adapted the play, is so convincing when she excitedly explains how her search for religion instead led her to worship being sodomised that it is hard to believe she is recounting someone else’s memories. The script is both funny and shockingly honest — this is definitely not a show for the faint-hearted.”

(The Stage)

“A remarkable one-hour monologue . . . This sustained piece of writing belongs to the time-honoured tradition of French intellectual erotica, reaching back to De Sade.”

(The Scotsman)

“BDSM ballet with humour and depth . . . The production has the atmosphere of a sensual ritual.  Isabelle Stoffel captures the sensuality and intensity of the memoir, and the tone of acceptance is enhanced by her determination… A solid, honest confessional.

(The List)

“Direct from an extended sell-out run at the Madrid Teatro María Guerrero comes an amazing one-woman tour de force . . .Isabelle Stoffel gives a memorizing, near-perfect performance . . . the shock content is high, but the quality of acting, the language and ideas are powerful and intelligent, with a lot to say about our human search for paradise, integrity, or even good sex . . . an amazing, bold, bravura performance.”

(Ros MacKenzie)

 “The film director Sigfrid Monleón debuts brilliantly in theater.”

(El País)

“The Surrender’ is written by a real woman with an axe, and an ass, to grind.  It’s touching, even heroic, possessing, like its author, more than one exciting passage.”

(Barry Humphries)

“This show is a sexy treat on the Fringe; a genuinely erotic memoir of a ballet dancer who’s discovered the joys of unorthodox sex and lived her submissive tendencies to the glorious full . . . Stoffel — who resembles a pouting, delicious, Leslie Caron gives the performance an authentic charge and frisson, to put it mildly . . . A serious play about sex is a rarity, and Kenneth Tynan would surely have applauded this beguiling and seductive adaptation of New York ballerina, Toni Bentley’s book, directed by Spanish movie mogul Sigfrid Monléon. Not least among its joyous assertions is that sexual liberation lies in enthusiastic submission. You might not agree, but the point is made passionately and convincingly. Sex is usually about domination and possession, and dancers know best how the highest ecstasy is achieved by crashing through the pain barrier.”

(Michael Coveney, On Stage)

“Genuinely daring in its self-exposure . . . Surely the greatest hymn to the transcendent powers of sodomy since the Marquis de Sade.”

(Village Voice)

“A success that moved up the theatre chain”

(The Guardian)

“The Surrender’ is nothing less than a passionate commentary on the power of certain practices, which are ‘still enclosed by big taboos’. . . Stoffel is here with this unusual and daring monologue to do no more and no less than to provoke a thaw.”

(El País)

“Isabelle Stoffel stars in a firecracker of a show.”

(The Herald)

The Surrender’ is a play about sex . . . the script certainly does not beat around the bush (so to speak) with regard to the nitty-gritty of Bentley’s sexual encounters . . . A fine play.”

(Broadway Baby)

“The fascination of the play arises from the balance between the power of the images of the text and the exemplary work of the actress.”

(El Mundo)

“To explore the intimate universe of female sexuality can become a journey of no return. Isabelle Stoffel decides to throw herself into the unknown, with no safety rope, and shares her adrenaline with the spectators.”


“A beautiful and wonderful actress seduces by approaching a “forbidden” sexual act. It must be seen and reflected upon, free of prejudices. Excellent.”

(Revista Veintitrés)

Ms. Bentley was full of praise for Ms. Stoffel’s performance.”

(The New York Times)