❥ Streche Florentin, Regal Literar on Yorick or the Skull:
‘Yorick, or the Skull stands out as a demonstration of dramaturgical intelligence and acting refinement, as the production capitalizes on minimal stage resources to build a complex universe, populated by the ghosts of memory and the questions left unanswered in Shakespeare’s text. […] The show speaks about the fragility of truth, the responsibility of art, and how people on the margins of history often understand more than those at its center. In this light, Yorick ceases to be a simple skull raised by Hamlet from the pit and becomes one of the most vivid consciences of the world of Elsinore.’
❥ Heribert Brinkmann, Neuss Grevenbroicher Zeitung on Yorick or the Skull:
‘A key element in bringing the events from the Elizabethan era into the present is the menacing electronic soundscape that Cecilia Thoden van Velzen has incorporated into her production.’
❥ Jewish Renaissance on A Court of Paper:
‘An intimate yet urgent portrait that interrogates the pursuit of truth and memory in today’s scarily familiar climate.’
❥ Rob Marland, The Wildean on Vera; or, the Nihilists:
‘Thoden van Velzen, recognizing the truth of Wilde’s adage that “Second thoughts in art are always, or often, worst” reverts to the authors first thought. […] His heroine lacks agency and is a woman of words rather than actions – Thoden van Velzen’s Vera is more dangerous.’
❥ London Pub Theatres on Vera; or, the Nihilists:
‘This Wildean rarity, unloved and unclaimed, now has new life breathed into it by Cecilia Thoden van Velzen. It’s intoxicating to hear the words of Oscar Wilde, resounding so clearly and movingly.’
❥ Jimena Batres, A Young(ish) Perspective on Vera; or, the Nihilists:
‘The tragedy feels alarmingly current, which makes this revival both timely and essential. Thoden van Velzen builds a world that feels populated, urgent, and alive. […] This revival of Vera; or The Nihilists is a hidden gem: ambitious, resonant, and far more urgent than a “lost Wilde” might first suggest. It reclaims a neglected play and reframes it for today– proof that Wilde was grappling with politics and power long before he sharpened his wit for comedy.’
❥ Spy in the Stalls on Vera; or, the Nihilists:
‘It’s messy history, magnetic performances and historic milestone make for a memorable experience.’
❥ Everything Theatre on Vera; or, the Nihilists:
‘It is a real eye-opener, in every sense of the word.’
❥ The Reviews Hub London on The Ferry, the Dog and the Fading Folk:
‘The atmospheric sound design by Cecilia Thoden van Velzen helps fill the empty space with magic and boundless possibility.’
❥ Beth Pugh, Theatre and Tonic on make the Bed:
‘Direction by Cecilia Thoden van Velzen is perfect in every way; the use of movement, physicality and soundscapes is unlike anything I’ve seen before and perfectly portrays the anxiety fuelled downward spiral.’
❥ Moos van den Broek, de Theaterkrant over Olympe:
‘The timing of the acting is razor-sharp. Humor and emotion alternate, and in between, we also get a glimpse of unwritten history—from De Gouges’s feminine perspective, of course. What a layered, intricately woven work—and so funny. Thoden van Velzen skilfully weaves in some contemporary elements into her play, in which every word is weighed carefully – also in a political sense.’