"Director Katrin Hilbe keeps a close eye on one aspect that could easily go unnoticed with all the jokes bandied about: In a community that for years has been headed by a manipulative chairman who has jovially disguised his autocratic leadership style, the culture of discussion has hardly been able to develop."

"The brisk pace, the ways in which the characters reveal themselves, how they interact in and with the audience, and the fierce discussions between the protagonists - the ensemble of Thomas Hassler, Ute Hoffmann, Mustafa Kara, David Kieber and Zeno Langenbahn achieve an impressive unity of performance."

"As stated in the text, the house doesn't go dark, the audience represents the General Meeting, from which individual members of the tennis club move to the stage and then return to their seats. Katrin Hilbe, an experienced opera director, also relies on this effect of involving the audience directly in the events. They are even called upon to vote, and at the Premiere in Schaan (Liechtenstein) they raised the number of performances where the audience voted for buying a second BBQ grill. A plus point of tolerance for Liechtenstein and best marks for Theater Karussell."

"The play, written by Dietmar Jacobs and Moritz Netenjakob, exemplifies that this subject matter not only concerns Germans. It could be Tennis Club Vaduz, TC Feldkirch or TC Buchs. Katrin Hilbe's direction makes it equally clear that our society still very much thinks and acts by labeling people, and that the step from being empathetic to making radical and xenophobic statements is indeed a small one."

"The play, written by Dietmar Jacobs and Moritz Netenjakob, shows that the topic is not just a German one. It could be TC Vaduz, TC Feldkirch or TC Buchs. Katrin Hilbe's direction also makes it clear that our society still very much thinks and acts according to labels and that moving from being empathetic to uttering radical and xenophobic opinions is a small step indeed."

"Run, don´t walk to see this entertaining, amusing and at the same time thought-provoking evening of theatre, where even Corona becomes a "Covid-19 Care Package", where the actors do a dance-off to "It's my life" and they sing of a spring in Berlin, knocking on her door and it all sounds like Nicole's "a little bit of Peace" (Bravo: music by Markus Jakisic). And an extra bravo for the perfect direction by Katrin Hilbe. This is theatre, contemporary, dark with a lot of humor and full of life. At the end, the three actors buzz the audience into the finale with confetti bombs and make everyone's sighs look old, because the production's coherent subtitle is: "A life in sighs". Despite everything, life remains a plush oasis of well-being (Bravo Martina Morger for the scenic design) if we let it. It's always a question of perspective. "If the last five years are an exact reflection of the next five years - would that be a jackpot for you or would you burst into tears" - this is the question the "Fiese Matenten" throw into the audience. Two times 20 seconds to think about it was not enough for an answer - only a repeated visit helps."

"In the new "Class Room Play" actress Jessica Matzig brilliantly portrays five different characters of one multiple personality, using different dialects, voice registers and accessories. (...) Director and script writer Katrin Hilbe based the piece on surveys and statistical research (...) and the impressive result was presented to the press, before it tours through High Schools. (...) With statistical facts, musical interludes and personal experiences (expressed by the five different characters) Jessica Matzig succeeds impressively in familiarizing the teenagers with the subject matter of equal pay. (...) Thanks to the grippingly staged play and Matzig's strong stage presence, the play left a lasting impression on the test audience."

"Director Katrin Hilbe and her cast make excellent use of the IRT theater. Jefferson Ridenour’s dramatic, handpainted, blue & white draperies delineate the space, while adding a vaguely chaotic dystopia that’s fully in tune with Duck’s mindset. Clever sound and lighting effects allow the action to proceed seamlessly, with a special mention for Cathy Small, who did the costumes. Three actors (see above) played five parts, and the action never flagged as they moved in and out of their costumes. In a play that doesn’t stop, that’s a considerable achievement."

"More than once in the last three years, I’ve been stunned into silence by the rabid stupidity coming out of Washington. “Quack! Quack! Quack!” says Duck-1. “Quack! Quack! Quack!” Moscow-1 echos back. The White House and Senate might as WELL be quacking, considering the total lack of substance and intelligence coming out of them (I’ve frequently wondered what William F. Buckley would be saying about these political cretins). Duck made me think anew about these important things, from a slightly different point of view. That’s what good theater is supposed to do, make you think, and I’m happy to say that this small, intelligent play does it very well."