“The use of the most modern stage technique makes possible in our times the realization of a most complicated score, and thereby the Duesseldorf premiere of the “Theater der Klaenge”. A “technocratic art form” of that nature may at first have an odd and unfamiliar effect, one can however not easily pull oneself away from the immediate fascination. This is an accomplishment of the young theatermakers, whose interpretation is not only remarkable by an impressive standard of perfection, but also by a concurrent liveliness and joy of play.”

Der Treff (Weimar/DDR)

“Idealism and intelligent initiative are the virtues of the “Theater der Klaenge”. When to those are added convincing artistic direction- as in the opening with the reproduced mechanical Bauhaus Stage- one can speak of an ideal constellation. The Duesseldorf ensemble – which only had one picture of the original premiere (of the Mechanical Ballet) to work with – planned to entirely rework the quasi mechanical movement sequences and enforced them throughout with pantomimic wit. The “manipulators” behind the stage, the composer and producer, and all actors deserve a compliment for their commitment and the precise result. They have enriched the cultural landscape with an irreplaceable spot of color.

Koelner Stadtanzeiger

“Its almost a “historical achievement” of this company to be able to introduce the ideas of that time (which must have appeared revolutionary to the 1923 spectators) to a contemporary audience as an experience. Most impressive of all is the music, in which jazz elements and traditional rhythms of the time become acoustical enjoyment. The movement in the ballet is mechanical, however also witty, cheerful and bursting with technical optimism. A film runs through the picture. Here meet Dada and Futurism. An enthusiastic round of applause for the Theater der Klaenge.”

Rheinische Post

“Both programs of the “Mechanical Bauhaus Stage” speak of precision. In line with the computer culture of our times, the technical prerequisites are provided first, in order to accomplish the dynamic concentration of form, movement, sound and light on the stage. These performances of the Duesseldorf free ensemble “Theater der Klaenge” stand as historical confirmation of their own experimental validity.”

Frankfurter Allgemeine

“The young Theater der Klaenge from Duesseldorf has with its first production achieved a “Grand coup” . Its efforts did not remain only dormant in the form of good intentions, but rose to a triumph of imagination, expertise and precision. One has dug and has found, has dedicated oneself to the past and thereby promoted an impressive up-to-dateness. The technical and the human are ingredients of a magical flow of images, which engenders constant suspense. Dazed, one emerges out of this maelstrom of moving images, but richer for the experience of the wondrous in movement arranged fantasies.”

Sueddeutsche Zeitung

“What the Bauhaus people knew at one time, the “Duesseldorfians” have finally proven us: That mechanical man can make use of the Theater creature.”

Mitteldeutsche Zeitung

“Color, form, music and movement become one on stage, without the necessity for one of the actors to be present. Out of Nagy’s “Eccentricity” arise images of ice-cold beauty. In the end stands a successful experiment which holds before the theater its boundaries like a mirror.”

Westdeutsche Zeitung

“Finally! The Bauhaus Stage of the twenties awakens to a new life! Witty, agile, lovingly reconstructed and perfectly choreographed.
Flat and yet amazingly plastic, the figurines assemble themselves in continuously changing images. The mechanics within have here an artistic function and fascinate eyes and ears with stubborn charm. A cupboard of surprises.”

Neue Rhein Zeitung