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“Jens Harzer captures the character of a broken man with captivating virtuosity.” - Till Briegleb, Süddeutsche Zeitung, 29.11.16

“Simons’ team creates a powerful triangle of belief, depression and desire for a new start. It generates a heavy atmosphere and sociological avenues of thought, poetically condensing each phase of economic history moving towards progress.” - Till Briegleb, Süddeutsche Zeitung, 29.11.16

“…a timeless parable on the futility of human endeavour in the face of God – strict in form, appealing in aesthetic and virtuoso in performance.” - Jenny Hoch, Die Zeit, 1.12.16

“The role of the dyke master is a showcase for Jens Harzer, allowing him to pull out all the stops (…) It is great, old school acting, which here is also a statement on the content of the play.” - Jenny Hoch, Die Zeit, 1.12.16

“It’s extremely moving to see how six actors, mostly arranged in tableaux, manage to spark the roar of a hurricane, raging inside as well as out. Without videos, sometimes accentuated
with wails of wind, the production places confidence in pure theatre.” - Frauke Hartmann, Frankfurter Rundschau, 29.11.16

“The Rider on the White Horse at Thalia demands energy – and is absolutely worth it.” - Thomas Joerdens, Nordseezeitung, 28.11.16

“Johan Simons' grasp of Theodor Storm’s novella, ‘The Rider on the White Horse’ is as smart as it is forceful. In his stage adaptation we see great actors, fully engaged.“ - Stefan Schmidt, nachtkritik.de, 25.11.16

“Jens Harzer plays the dyke master with his usual mixture of arrogance, empathy and coldness. He plays him as an analytical man, who knows he is right and cannot understand why he can’t get through to his opponents. Sebastian Rudolph plays Haien’s adversary Ole Peters as a vermin-like, lurking presence, who nevertheless is not a negative figure through and through (…).” - Falk Schreiber, Hamburger Abendblatt, 28.11.16

“(…) how precisely Simons is able to direct his actors. There is a fantastic scene, when Haien holds out his hand to his wife, Elke (Birte Schnöink) and she flinches, barely perceptibly, under his tentative touch.” - Falk Schreiber, Hamburger Abendblatt, 28.11.16

“A Greek tragedy! It would barely be possible to build a more striking stage (efficiently, sparsely and menacingly conceived by Bettina Pommer).” - Werner Theurich, Spiegel online, 26.11.

“Harzer possesses a berserk intensity that allows him to fill the stage all by himself, as he has proved many times over the years at Thalia.” -  Werner Theurich, Spiegel online, 26.11.16

“Each scene is full of dialogue and intense, and the actors are brilliant – above all Jens Harzer as the dogged and megalomaniacal dyke master.” - Heiko Kammerhoff, Hamburger Morgenpost, 28.11.16

“Johan Simons’ stage version of the tempestuous street ballad guides the audience’s attention to the ideological conflict between Hauke Haien, who believes in progress, and his superstitious rival Ole Peters. It primes the perilous disaster with a gripping clash.” - Hendrik Werner, Weser Kurier, 27.11.16

“Johan Simons’ ritualistic theatre uncovers startlingly deep layers in Storm’s story. But, above all, the oratory of The Rider on the White Horse unfurls huge drama.” - Bernhard Doppler, dradio ‘Fazit’, 25.11.16

“A liturgy bursting with musical theatricality” - Bernhard Doppler, dradio ‘Fazit’, 25.11.16