Performances
'Dybbuk':
''... A vivid dance of possession....This production, directed by Ms. Pascal and designed by Thomas Kampe, makes ingenious use of simple props like blankets and ladders to convey the debased poverty of the ghetto....“Dybbuk” builds to a remarkable climax.... Well after the play ends, this harrowing image holds fast. ' New York Times 2010 ; Daniel M.Gold
'As the storytelling ends, a choreographic, silent retelling of the tale is one of the most striking and haunting moments of theater I've ever seen. I was riveted as the cast created the invasion by the dybbuk, the possession and then the exorcism in movement, sound and lighting that sent chills directly into the heart.' Larry Litt http://www.nytheatre-wire.com/ll10084t.htm
“The most impressive aspect of the evening was the acting. Never have I seen a physicalisation of horror as performed by Thomas Kampe. His body language formed the incredible climax within the extremely agile ensemble of Pascal TheatreCompany." Rheinische Post 1998
......Unforgettable.... Evening Standard
......Death dance which is profoundly disturbing in its ability to so cleverly combine beauty with horrible intent The Guardian
.......A sequence of physical theatre which stunned the audience into silence. Glasgow Herald
.....Achingly beautiful choreography.. Huddersfield Examiner
......versatile props and set and intense physicality combine to provide a near-unbearable atmosphere of tension and suffering and some truly amazing effects. The ballet of the dead man’s spirit entering and dominating the young girl is one of the most remarkable pieces of theatre I have ever seen. ' Plays and Players
'Departure':
"Simple and evocative.....Kampe is able to shift deftly across awide range of movement qualities, fusing the physical and emotional layers of his work into an organic stream of arresting and potent images” The Guardian
'ST.JOAN':
.... Thomas Kampe’s design and especially movement direction is startling - the images he creates with body movement are pure aestheticism and add even more depth and tone to what is already a remarkable play.” London Theatre Web Site
'Daniel Halbermensch':
…..Documentary video projections and sound collages supported the play creating a nearly ghost-like authenticity….The play raises important questions about national identity, antisemitism, racism and about personal responsibility of individuals….it meets the subject matter explored with subtlety, informs and raises the audiences’ interest in the whole historical period… a convincing attempt to access history … Passauer Neue Presse
*Thomas Kampe’s direction convinces through its clarity. He manages, together with his cast of five, to illustrate the dangerous journey of the characters without falling into sentimentalism. A successful attempt to to clarify political events through the lived experience of individuals. Hessische Allgemeine
'Urban Rituals': St.Pauli Football Stadium Hamburg 2003
‘Up to 150 performers, including members of the Hamburg senior citizens dance group and of Retina Dance Company London…. The first scene immediately provokes roaring applause……..The true highlights don’t happen on the pitch, but around and behind it. There are women in white sleepwalking between the trees.. behind the iron gates a clump of nearly naked dancers. And behind the entrance hundreds of exactly placed beer bottles, an installation about the beauty of drinking- final score: 1:o for individuality and detailed play.’ Tageszeitung Hamburg TAZ 8/9/03
‘..a man who walks his dog across the whole football pitch , accompanied by the football hymn ‘You’ll never walk alone’, sometimes stroking the dog who sniffs his way across the lawn. These images are complex and unforgetable. In fact it is always the simple images which strike us…. A logistic masterpiece.’ Tanzjournal 5/03
