“The result is a powerful evening that demands the full attention of the company as well as the audience: once, because it is worth appreciating the diversity of dance styles that the dancers from Koblenz cover, starting from neoclassical ballet.”

“This pushes the energy forward, is realised in an aesthetic that stretches far from neoclassical to folk dance quotes to group dynamics that would do credit to any music video. And it works right off the bat, earning this first outburst from the “Carmen Suite” a roar of scene applause.”

“Rather, such a dance-technical concetration and accuracy, together with intense esprit of expression in almost all positions, has not been seen here for a long time, possibly never before.”

“The audience is captivated with three self-contained evening parts of fundamentally different character to equally different music (recorded): one humorously playful; one deeply mysterious; one of pure ballet beauty.”

Nutcracker and Mouse King
“In this comprehensive story, Steffen Fuchs skilfully uses a child’s imagination – the play is recommended for children over 6, an evening for the whole family. And yet he adds many details that will only catch the adult viewer’s eye… Stylistically, all 16 ensemble members are from the purest, lovingly quoted ballet classics to the humorous neoclassics of Fuchs style to the group dance of the mice, in which the hitherto unknown Lloyd-Webber musical “Mice” could celebrate its premiere.“

The Odyssey
“The choreography is based entirely on neoclassical dance style. And the dancers decline a remarkable repertoire of steps with ease and precision at the same time…. The achievement of alternative possibilities becomes a touching and impressive climax in dance. Sensually and dynamically charged formations between joyful reception and urgent to shamefaced approach stand in contrast to intimate moments of uncertainty, of doubt.”

SJust as Emmerich Hugo Schmollgruber not only transforms Hugo Schmollgruber into Valmont a little later, but also empathises with his dream woman, Madame de Tourvel, Lisa Gottwik senses both the intriguer Merteuil and her naïve victim Cécile: a highly difficult, even straight, paradoxical play of persons, which is formed here solely from the choreography.

“With a cuddly ring card girl and a nutty inspector, Fuchs hat brought two fools into play who spice up the banter and amusement of this evening.”

“The musical character (also) allows such exuberance, and we therefore take the opportunity to enjoy the dance game at the remarkably high standard of this evening.”

“Sensual, humorous, shocking, pensive, political 90 minutes of thrilling dance performance. With his Franz Wedekind-inspired dance revue “Lulu” at Theater Koblenz, ballet director Steffen Fuchs pulls all the stops and manages to resonate with every spectator on a different level.”

“Fuchs intertwines person and fictional character, present and past, dance and song in such a way that not only a dramaturgical structure is revealed, but the choreography is emphasised in a way that there is no risk of boredom. The audience is always left to feel that the banter can reverse any time.”
dance for you

VERKLÄRTE NACHT (Blissful nights)
“It’s fascinating how the Unknown first abruptly breaks fresh ground and then is only shyly suggested… The powerfulness of this evening lies in its ambivalence.”

„This is what makes musical theatre in the best way possible, especially since Fuchs retains the individual body language of his dancers without ever drifting into sentimental naturalness or pseudo-lyrical pathos.”
Die Deutsche Bühne

28 JAHRESZEITEN (The 28 Seasons)
“A strong talent has grown up…For me, “28 Jahreszeiten” is hands down the highlight of the first half of season 2015/16. “

“A successful and diverse melange of sound, colour and movement.”
Der Neue Merker 02/2016

“Last weekend, Steffen Fuchs and Co. at Theater Koblenz have presented a worthwhile ballet adaption followed by a long round of applause…No less intriguing is Fuchs’ music selection with chamber music by Chopin, Gorecki, Saint-Saens and Hindemith that is sometimes tragic, sometimes quirky…”

“In parts, this ballet with Fuchs‘ markedly mature stylistic idiom is programmatically committed to absolute art, just like a symphony. In other parts, the dance goes beyond and focuses on the human touch.”

“The flow and togetherness of the dancing figures visualise in a striking but still independently construing affinity what is heard by Rachmaninov.”

“Yet Fuchs doesn’t display duplicates, he is creating in boundless adoration based on his wealth of experience…He juxtaposes the austerity of the form and the ease of artful nonchalance. Lo and behold – they obviously belong together.”

“In a captivatingly focused lightness, Fuchs and Co. demonstrate so much hope, talent, joy of dancing and effort on the hypocritical highway from rags to riches.”

“The appeal of „Happy Song“ lies in the contrast between folkloristic square dance figures and a seemingly intellectual Bigband sound, patriotically stylised costumes and rather grotesque movements.”
Der Neue Merker 11/2013

ROMEO UND JULIA (Romeo and Juliet)
“…such as in the great formations. Men and women are weaving an underlying aggression into their coexistence, as if the sexes were fiercely opposed to each other just like the Shakespearean families of Verona.”

“What at first sight looks like the joy of dancing experiments and reacting to musical stipulations turns into a roleplay with moments of improvisation.”

2xFENSTERPLATZ (Two Window Seats)
“Refined grasps, the coordination of stimuli, handover of suspense, and rhythm of the breath – the transformation from dancing technique to an expression of the soul is intensely perceptible for the close audience.”

AN STELLE VON HEIMAT (Instead of Home)
I“By integrating the family into the family, Fuchs slightly weakens the wit of the musical score while evoking a feel for the mercilessly competitive society in which the pair Anna and Anna are moving.”
Dreigroschenheft 1/2013

“…he succeeds with an exceedingly charming piece of dance…Classically shaped without following a too obvious narrative thread, his ballet is playfully evolving…”

“One by one, the dancers are drawn into a resourceful choreography that in all abstraction never ceases to be childlike and playful.”
Die Deutsche Bühne

“Giselle wriggles and squirms, her movements are becoming insecure, she doesn’t understand, she remembers the intimate bond full of harmony…she is dancing the dance of inner strife and desperation, displayed in all its tones and nuances.”
Volksfreund (Trier)

“The magic of the theatre tempts the audience to look and the small evening (keeps) its touching qualities.”

“A smart evening, starting out with the grandeur of a baroque court celebration, only to be dismantled bit by bit to reveal behind the splendour people’s yearning for freedom from the confinement of social norms.”
opus Kulturmagazin

“Steffen Fuchs made a strong debut at the Koblenzer Ballett.”