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“Anger and insatiable desire drive Jeremy Wade and performers with limbs twisting and turning to rubber, they seem to have stepped out of a comic strip combining horror and fairy tales. Identities, sexual characteristics and social backgrounds blur in a kind of permanent scream; hysteria becomes flesh in the face of universal disaster. While our western civilisation comes up with ever more schematic solutions and models for social co-existence, Wade shows the alarming simultaneity of a diverse number of singularities. His figures switch from one emotional state to the next, experiencing anger, fear, happiness and desire in the space of a few seconds. They are simultaneously drunken dudes, hysterical tourists, babies and junkies, all filled with a nameless desire. Overtaxed by a constant barrage of sensory impressions, incitements to consume, new fears and affection, they are physically and emotionally torn apart. Yet despite their helpless disorientation, an anarchic freedom of ecstasy flashes through their tormented bodies. And in this ecstasy, it becomes clear that Wade is not just concerned with portraying and choreographically reproducing extreme emotional states. Those shaken, broken bodies, which seem to have lost the ground under their feet and all intellectual certainty, rooting around among the debris of civilization like rabid dogs, basically just want one thing – to communicate with us.” – Anonymous Review
In “and pulled out their hair” you saw bodies in one disorientating event after the next. Dancers articulate an overt emotional nausea of decadence, desperation, shock, violence, absurdity, ecstasy, hysteria and religious longing. These pathetic bodies inhabited a space in which their conflicted and split actions had immediate results and cataclysmic consequences.

The music was a hallucinatory mixture of the live, amplified and processed moaning, crashing, grunting and spitting of the performers. Musician Adam Linson and later Brendan Dougherty the two created computer programs unique to the project that shatter and pervert sound much like Wade processes movement. “And pulled out their hair” was a quintet, a grotesque group organism and an emotional sculpture that was deployed in physical, psychological as well as behavioral modes in order to understand the limit states of our experiences.

Wade, looking for a way to articulate the deceit of individual stability and finding that, he uses an unstable and transitory presence on stage to dislodge fixed habits of perception.
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Staggering and trembling, screaming and barking, crying and gagging they are looking for that one moment of pure ecstasy, which though it may be - in sex, religion, beauty, vulnerability or what ever emotional behavioral drug comes next. It is a desperate search, an endless fight against a present decay, the only music the sounds they produce themselves, crushed and distorted. In last years "Glory", a duet in which the mouths of the dancers in an endless kiss were stuck. Now in "...and pulled out their hair" dancers have their gaping mouths open for the entire performance. A mouth that is not filled, and where no sound comes out. Only a throat which is becoming drier from endless longing.

– Mirjam van der Linden, Spring Dance