IMG_1161‘Hamlet’s oversized humpty-dumpty brain/crown and the chorus’ skeletons with alien craniums are memorable. Ophelia’s costume with the slashes that open in her flesh is extraordinary, as is her final red sweater dress. The black-winged dancer with the reverse human mask was startling. Most important is the very particular movement created through your work with the young actors to accommodate the mechanics of the costumes. This was fantastic and a huge part of the impact of the production.’(Read More)

— Patricia Churchill


‘What a formidable piece of work you took on with the Hamlet Machine!  And what an engaging and visually stunning result you produced.  I must admit that I did not always fully understand what was going on (who does with this work?), but I was always being challenged and stimulated and frequently being entertained. I commend you!’

— Brian Parkinson




‘The costumes and the way the actors moved in them were extraordinary. I found the skeleton costumes and movements (sometimes funny, sometimes sad and always somehow quite vulnerable) to be particularly successful. I liked the way the awkwardness and jarring quality of the movements of Hamlet and Ophelia- the twisting, writhing, reaching, legs dragging, feet pounding- was mirrored in the jagged, shattering glass noises in the music.’

–Mary Downe


‘I saw the Hamletmachine last night together with my wife and a friend, and we all felt, that you did a truly amazing job. I do not particularly like Heiner Mueller. Not as a person nor as a director or even a writer. And I knew that producing his Hamletmachine would be very risky for many reasons. Your courage, I thought, was all the more remarkable. We were fascinated not only by your most thoughtful direction, the incredible costumes and the choreography. All that had us talking for hours afterwards. I hope your production will gain some wider attention, and we hope that we will see more of your work in the coming years.’

–Dr. Klaus Petersen

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