"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."

"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."