"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."
"Duck is darkly funny and often disturbing. Directed with a perfect sense of pacing by Katrin Hilbe, we see a modern version of our brother's keeper."
"The variety of the stories and the aesthetic formats are what make this project alluring, which included Andra Teede (Estland), Guy Helmlinger (Luxembourg) and Vedrana Klepica (Croatia) took part in. Despite the different qualities of the scripts, the directing team Hilbe and Kohn succeeded in creating stirring "Gesamtkunstwerk" on the dreams and fears of Europeans, who resist losing their communal values."
"The Hungarian-Romanian author Csaba Székely presents his character more brusquely and realistically in the monologue "Piri". The story of a young Roma, who finds new parents in an orphanage in Romania, is moving and shocking. Director Hilbe draws close to the young woman with gripping close-ups. Christiani Wetter shows the figure of a strong woman, who has to change identities like sneakers. As speaker for a right-wing nationalist party in Hungary she seduces her audience - "with well-founded arguments and red fingernails." Székely is one of the voices of his generation whose texts that shake things up. "Piri" is a clever analysis of the shift to the right on the continent."
"The directors Katrin Hilbe and Rafael D. Kohn didn't commit to an overall framework regarding content. This is what increases the chasm between the pieces. The Swiss writer Rebecca C. Schnyder puts the figure of Helvetia on stage. Her monologue "Dear Europe" was staged by the Liechtenstein director Katrin Hilbe. Thomas Beck stumbles in as the bride. The actor intelligently explores the yearning of the country for self-sufficiency within the European context, which is here presented as a relationship story. Schnyder digs deep into the nightmares of her compatriots. Beck unearths these deep layers beautifully. Cool and with distance her presents his female character."
"Identity Europe" is a small European theatre jewel, which in the directions of Katrin Hilbe and Rafael D. Kohn offers strong acting and texts, which enter into a dialogue with each other thanks to the intelligent dramaturgy. The monologues are therefore more than an appeal for international exchange. They are the beginning of a dialogue, in all modesty."
"Very enthralling was Katrin Hilbe's direction of PIRI by Csaba Székely, the story of a Roma girl, which Christiani Wetter presented with much heart and presence on the stage, while at the same time showing a laser-sharp view of Hungary. It is also a wonderful story of an adopted girl, drifting to the political right discrediting all of the Roma people, but having to realize that she herself is a Roma. In this monologue everything was aligned, even the costumes, who grew up along with the age of the girl."
"The writer wonderfully characterized the relationship of Switzerland to Europe (in LIEBE EUROPA), Katrin Hilbe directed this with much sensitiviy and humor, which Thomas Beck perfectly implemented in his figure of the bride."