Press Comments

Press Comments and Letters

1999 Don't I Know You?
1999 Idunn and the Golden Apples
1998 Kaspar Hauser - a Mystery
1995-6 Storm's Child
1993-4 Winds of Time
1992 Come You Spirits

Responses to "Don't I Know You?" (1999)

"The combination of several arts - eurythmy, dance, drama - was so beautifully done. Seldom do we leave the theatre with thoughts and understandings which have the depth to stay with us as we go through each day. But this evening was exemplary theatre and we are so much in need of. It spoke to each one of us on so many different levels."
Midge Heath Nov 1999, San Anselmo, California, USA

"...... rich with the subtle humour of English theatre. ..... a refreshing use of sound effects and sensitive stage lighting. ...... a piece full of passion. ..... a daring show."
Sept.1999 Sudkurier, South Germany.

"The play between the different arts gave the piece a unique chemistry even for those who knew nothing about Eurythmy." Sept.1999 Schwabische Zeitung, Germany.

"...... a lively and moving evening ...... a courageous production which neither shies away from Angels, Death and the Devil nor from Humour and the deepest feelings.
...... with speech, acting, eurythmy and music, pictures were woven which seemed to arise in the moment, a result perhaps of the social artistic process out of which the piece was created.
Both ability and the performers commitment or involvement, a highly risky theme drew forth obvious enthusiasm in the audience."
Ruth Kindt-Hoffman Oct.1999, SchulZeit Freie Waldorfschule Hannover, Germany.

“My high expectations were more than fulfilled by what I saw on the stage. The close interaction of the spiritual, the dramatic, the visual and the music. I was naturally very interested in the choreography and I admired the effortless flow of the dancer’s movements, their ability to clearly express their emotions and mental states, and their physical skill in doing so. In the end, I realised that I had witnessed a true manifestation of the inner life through art, something that many of us aspire to and very few achieve. I am deeply grateful for having had this life enhancing experience.”
Helen Lewis (author of “A Time to Speak” and founderof the Belfast Modern Dance Theatre). January 1994

Responses to the children's show "Idunn and the Golden Apples"

"I cannot thank you enough for the gift of your work in the world! Such an exquisite weaving of many art forms. I look forward to seeing more of your work in the future."
E. Pameranz Oct 1999, Alan Howard Waldorf School, Toronto, Canada

"Your company's performance today was just MARVELLOUS. Some of us here feel this is the way for eurythmy to be going. One of my colleagues, looking after the troupe, was particularly impressed with how together and positive they all were. So if you have a new children's production next year, I hope you will let us know. Bless you all for what you are bringing into the world."
Carol Lewis Oct 1999, London Waldorf School, Canada

"Colourful and lively, the audience was pulled into the story by the utter commitment and exceptional ability of the performers."
Aug.1999, Munster, Germany.

Responses to "Kaspar Hauser - a Mystery" (1998)

"The ensemble has an excellent understanding of how to create a balance of contrasts which can be experienced on many different levels by the audience. ... Despite the many moving transitions between scenes there remains a sense of real depth, like the setting sun."
Zürcher Oberlander, Wetzikon, Switzerland.

"This company is opening up new directions in Visual Theatre and their success was confirmed by the thunderous applause which resounded throughout the theatre."
Haller Tagblatt, Schwabisch Hall, Germany.

"The great applause that you received for "Kaspar Hauser - a Mystery" in our schools spoke of the excitement that it brought to both teachers and pupils. The artistic expression was strongly emphasised through the union of the arts of eurythmy, theatre and music, yet each art form was itself enhanced by its connection with the other. This play is a marvellous piece of "total theatre" that had both young and old spellbound. It was a wonderful experience for us all."
Emilie Nordgreen - teacher, Steiner-Skolen Århus, Denmark.
Jette Henningsen - teacher, Steiner-Skolen Odense, Denmark.

Responses to "Storm's Child" (1995/6)

Collaboration is risky business and blending different art forms can be down right dangerous. The English Eurythmy Theatre, however, is master of weaving various disciplines together. A vibrant and moving tapestry of movement, music, poetry and theatre...Undoubtedly it will spark an interest in the little known art of Eurythmy and the company that brings it to life.
Baltimore Sun, USA.

"Anyone who accepts that the artistic policy of the English Eurythmy Theatre focuses on theatre, using eurythmy as one aspect in creating a ‘Gesamtkunstwerk on a modest scale, will find a lot to enjoy, and even to be moved by, in this exploration in combining different artistic disciplines".
Nico S. de Wal, JONAS, Netherlands.

The show made a strong impression, but why? We can start to describe it, to analyze it, to criticize it ... that is, we can start to destroy the impression it made on us. How often is it now-a-days that one is so deeply moved by a performance? Our attentive contemporaries will give various reasons why this show had such an impact:
- the moving story by Paul Gallico,
- the beautiful songs,
- the exceptional violinist,
- the sensitive eurythmic presentation,
- the expressive modern dance,
- the impressive acting and speech,
- the atmospheric stage set,
- the effective, and yet not obtrusive lighting...
In fact all of these are correct, but taken each seperatly for themselves none are. The impression that this unique production left did not develop through separation, but through the collaboration of these essential and valuable different aspects. Whoever expected eurythmy must have been disappointed, whoever came for the dance, like wise, and so on. But whoever was prepared to be open and without prejudice for this work of "total theatre", which is what it was meant to be, will have experienced an unforgettable evening. Separation, compartmentalization, isolation, are signatures of our modern civilization, but this show brings different art forms together which are all too frequently kept separate. It indicates new ways of working with the arts, crossing boarders which many "purists" may consider to be going too far, the result being utterly convincing.
The happily well filled hall was so gripped by the magic of the presentation that the applause was at first hesitant, but then became so much the stronger.
Jürgen Radojewski (teacher), Freie Waldorfschule Gladbeck Mitteilungen, Germany.

Curiosity led me to attend the English Eurythmy Theatre s production of "Storm s Child" but conviction compels me to share my impressions. There are many dramatic and artistic performances to be experienced which entertain, fascinate, scintillate, manipulate, exhilarate, or otherwise impress an audience. Rare is the experience which moves one at the very core of one s being. An encounter such as that approaches the sacred. If one considers that art has a spiritual origin, then the ultimate artistic experience serves a higher purpose than to showcase the technical or creative virtuosity of any one individual or group of artists. It leads the audience into contemplation of spiritual truths. "Storm s Child" did just that.
In an artfully woven tale of a deformed man who finds purpose and meaning to life in spite of a lonely, painful existence, the company of artists blended narration, acting, music, song, dance and eurythmy in lively yet subtle ways. The apparently effortless flow of the performance conveyed a sense of a very particular kind of behind-the-scenes dynamic. Performances where the creative process is a collaborative effort in which the director mediates the artistic insights of many rather than use the performers as instruments to execute his/her own interpretation have a unique quality: they engage and involve the audience in an unselfconscious way. They also gently nudge the soul to awaken to the content, the message of the work, not merely admire its execution. The soft unobtrusive costuming, the minimal use of props and other theatrical devices, the eurythmy's poetic rendering of words and musical sounds all contributed to a transcendent quality of a drama that while tragic was not hopeless. The story s poignant sadness was offset by the protagonist s transformation from a pitiful outcast to a courageous hero through an act of love. While I was in tears by the end, I left the theatre feeling spiritually uplifted. The inspiring message of this play was the power of the spirit to transform the direst circumstances into an opportunity for love s healing release. The English Eurythmy Theatre s production of "Storm s Child" was a unique, deeply moving experience.
Larissa Oryshkevich, Dukes University, Durham, North Carolina. USA

Responses to "The Winds of Time" (1993-4)

“Word, music and movement merged into a unity. The masterful lighting technician with his coloured lighting created wonderful and electrifying colour moods” . . . . . “After the interval it was pure English humour! The highly original interpretation of the Funeral March by Chopin with four pall bearers, was only topped by the naked arm that brought the lyrical central section to expression. This was an unexpected moment of inspiration and in no way blasphemy.”
Schleswig-Holsteinischen Landeszeitung, Germany.

“Where else but in Britain with its great theatre tradition could the spoken word break through from the wings to centre stage, to make common cause with those eurythmically moving the speech? And where else would we come across that typical feeling for understatement, which can relieve lofty issues of their heaviness without belittling them?........
One is taken by surprise by the boldness of this programme, which perhaps is presented under the title “The Winds of Time” for that reason.”
Nico S. de Wal, JONAS, Netherlands.

Comments from teachers to the Children's shows.
“It was a real treat to see eurythmy performed to such a high standard and the feedback from the children was very positive and encouraging.”
Teacher, Rudolf Steiner School, Edinburgh. March 1992

[The Music of What Happens] “led the children from a calm and enchanting lyrical section through a dramatic, strongly rhythmic scene, to a sequence of light and humorous pieces. The variety of impressions did not have a chaotic effect on the children, as we had feared it might. Quite the opposite: seldom have the children in our school been so attentive and patient during a performance! Children are a critical audience. Their behaviour during this performance and their positive comments afterwards confirms the high niveau of the company. The programme was created with a penetrating knowledge of this age group.”
Hibernia School, Herne, Germany. Nov. 1992

“The upper school had no time to be sceptical. First, they were given “Nascuntur Poetae” and much food for thought - who am I, why am I here, what am I to do? It was enthralling stuff, dramatically underpinned by the haunting music for horn and piano. Here too, there followed a fair portion of light relief, humour, some of it deliciously black. In the evening, the English Eurythmy Theatre demonstrated that art, their art, can still be uplifting. They,ve taken a risk with this new concept, perhaps there are purists who cringe, but we enjoyed it all immensely and look forward to the next time.”
Peter Elsen for the faculty, Freie Waldorfschule Bremen, Germany. May 1994

“Having seen the performance three times I was able to witness the state of the audience before and after the performance. On each occassion they entered the hall, dull, tired and uninterested but left lightened up, smiling, red cheeked and full of being. I met in this group a sense of purpose - total devotion to a task which seems to be healing and joy for mankind.”
Judy Hess, therapist with the Camphill movement. Feb. 1994

Responses to "Come You Spirits" (1992)

A new form of expression for eurythmy performances? The time is ripe! A courageous step for eurythmy and drama ...... A strong and enlivening performance.
Info Drei, Frankfurt.

This symbiosis of eurythmy and drama was a festival for the senses.
Westdeutsche Zeitung.

An inspiring performance combining a chilling and powerful interaction of dance and drama, mask and colour, to portray themes and imagery within the play.
Gaudie - Aberdeen University Student Newspaper.

Comments from teachers to the Children's shows.
“It was a real treat to see eurythmy performed to such a high standard and the feedback from the children was very positive and encouraging.”
Teacher, Rudolf Steiner School, Edinburgh.

[The Music of What Happens] “led the children from a calm and enchanting lyrical section through a dramatic, strongly rhythmic scene, to a sequence of light and humorous pieces. The variety of impressions did not have a chaotic effect on the children, as we had feared it might. Quite the opposite: seldom have the children in our school been so attentive and patient during a performance! Children are a critical audience. Their behaviour during this performance and their positive comments afterwards confirms the high niveau of the company. The programme was created with a penetrating knowledge of this age group.”
Hibernia School, Herne, Germany.