SUNDAY contains besides Adrienn Hód also some Bosch and Pasolini. (…) It’s a kind of experience that the spectator can’t stay indifferent to. (…) We are just as important for Hód as her dancers, if not more important. She is teasing us, working on us until our heavily crusted spectator shell opens up, and we are standing there waiting for the unknown, just like the performers of SUNDAY. The visceral bodily experience, which arises from the self-disclosure and the energy explosions of the dancers, sweeps away all false illusions and ideas.’ (Csaba Králl,

’We find ourself on an uncertain, unknown place where  we don’t know our way around (…) Hód clears away the glaze from everything. (…) She is doing exactly the same as her dancers for years with relentless systematism: reaching for areas which are inappropriate, touching parts which are sometimes uncomfortable. But we must see it. Because it’s intriguing. Becasue it doesn’t let us to lean back. Because it helps us to know ourselves better.’ (Ágnes Maul,

’The company HODWORKS after Grace and Solos continues thinking about the genre of dance, about its role, its future, the duality of performer and role, and last but not least about the process of reception. (…) SUNDAY is a theatrical self-reflection, which won’t leave anything nor anyone without a question.’ (Klaudia Antal,