The message cannot be missed. Norrdans speaks, literally, in capital letters to beat in Greta Thunberg's ominous words. With "Our house is on fire", choreographer Nicole Beutler delivers a slap in the face - but also a painfully beautiful work that could hardly have been more urgent.

Despite the fact that the audience is sparsely populated, a world premiere in the shadow of corona, the atmosphere quickly becomes denser when nine dancers wearing red, full-covering protective...

Genevieve Murphy: I Don’t Want To Be An Individual All On My Own

Interview: "My work is not about me"

from: Sophie Smeets, Mister Motley, 30 sep 2020


By Sophie Smeets

Scottish composer, artist and performer Genevieve Murphy is fascinated by the human psyche. Obsessive-compulsive disorders, self-destruction, insecurity and fear are recurring themes in her absurdist performances on the cutting edge of music, theater and the visual arts.

This spring, her new piece I Don't Want to be an Individual All on my Own was to premiere during the...

Genevieve Murphy: I Don’t Want To Be An Individual All On My Own

SPRING On Screen

from: ★★★ Elisabeth Oosterling, NRC, 20 mei 2021

Murphy makes her nose and mouth dance in a choreography for the face. She pulls up a lip rhythmically, blinks her eyelid wildly and makes her cheeks puffy. It produces bizarre facial expressions that go wonderfully with the music. ★★★ NRC about de video Your Feeling

Read more

Genevieve Murphy: I Don’t Want To Be An Individual All On My Own

Memories of a mysterious children's birthday party

from: ★★ Francine van der Wiel, NRC, 3 nov 2020

In itself, Murphy's memories of a childhood birthday full of enigmatic figures are atmospheric, though for the most part it could be enjoyed with the eyes closed.

She is a child, mother and grandmother, performer, composer and musician. Genevieve Murphy smoothly combines the roles in her new performance I don't want to be an individual all on my own, which she made under the umbrella of Nicole Beutler Projects. After the theaters closed in the spring, the premiere has, like so...

Genevieve Murphy: I Don’t Want To Be An Individual All On My Own

Soundtrack of an eight birthday party

from: Carolien Verduijn, Theaterkrant, 2 nov 2020

After the premiere of I don't want to be an individual on my own by Genevieve Murphy was postponed this spring due to corona restrictions, the temporary closure of the Stadsschouwburg Utrecht almost seemed to throw a spanner in the works again this autumn. SPRING found a solution and moved the performance to the Pandorazaal in TivoliVredenburg. And how lucky that is, because it's a perfect place for this audio work.

In that venue where so many people already danced into the...

For the most impressive dance production of 2020, the VSCD dance jury nominates the performance 8: Metamorphosis by Nicole Beutler Projects, a hallucinating and uncompromising performance in which dance and opera form an imaginative unity.

The inescapable changes awaiting the world through shifting power structures and a looming climate crisis are exposed in the two impressive volumes of 8: Metamorphosis.

For this performance, Nicole Beutler and composer Gary...


8: Metamorphosis is an impressive dance-opera about a patriarchal structure that will not yield.

from: De Volkskrant, Annette Embrechts, 26 mei 2019

8: Metamorphosis is an impressive dance-opera about a patriarchal structure that will not yield
(5 out of 5-star review, Volkskrant NL)

Thrilling is the descending lightgrid, that hold the performers captive.

The drum kit has a lot to endure. Even before 8: Metamorphosis commences, Frank Rosaly lashes it with forks, feet, bells and nails. Astonishing energy erupts from this fanatical percussion. The kit lasts until halfway. Then it concedes...


How do you achieve change? 8: METAMORPHOSIS


Nicole Beutler makes beautiful theater. One of the highlights in her oeuvre was one of the most beautiful pieces we have ever seen Dido Dido. That sets the bar high when a new performance is made in which Purcell's work is another pillar and the singing and acting are at a high level.
The invitation to the show says: “The ice is melting, the climate is changing, the balance of power is starting to shift. The future holds great uncertainty. 8: METAMORPHOSIS is both a dance performance...


8: METAMORPHOSIS at the Nieuwe Luxor.

from: Eva Tisnikar, Arts Talk Magazine, 21 mei 2019

Science fiction audio-visual installation that morphs into a dance performance with opera inserts, happening in a theatre with the audience sitting on the stage facing the auditorium is not something one sees everyday. It is Nicole Beutler’s new dance opera named 8: Metamorphosis that explores a big array of existential issues, from global warming, masculinity and humanity, to repetition and destruction.

The performance begins almost without a beginning, while the audience is...


8: METAMORPHOSIS - Nicole Beutler

from: El Balandre, Jordi Ribot i Thunnissen, 24 mei 2019

Halfway through the performance the eight men come together. Between singing fragments of The Cold Song undertones – Henry Purcell’s work being deconstructed in 8: Metamorphosis – they declare, whisper and sigh: “mentalities, mannerism, shaman, German, nymphomaniac, menopause, mango”.

In the outside world, there’s no fooling ourselves anymore: climate-wise, we’re hurtling towards an unknown future. Within this theater, Nicole Beutler puts manliness in a different light (not...




from: Blog Basia con Fuoco, Neil van der Linden

Six strong women, proud of who they have become.

from: Trouw, 28 februari 2018, Alexander Hiskemuller ★★★★

They are beautiful, each in their own way and perhaps not according to any standard, but enough to make you think: wow!

An urban dance explosion of variety.

They're proud of who they are and of how they struggled to make it. Your colour, your gender: you try breaking through the social barriers, it takes courage.

All in all, Role Model offers, not a new message, but still a necessary one at a time of #metoo...


Role Model is liberating and moving.

from: Musicalnieuws, 23 februari 2018, Elise Kant

In the space of a few minutes you are pulled into their world and can only look at them with that warm and intense feeling that comes with experiencing beauty.

They sing about who they are with their own, by the standards of others, imperfections. And by speaking out on those, they strongly reject those judgments, straighten their backs and state with sparkling eyes: Don't ever forget this: be yourself unashamedly.

Man, how beautiful you are. Woman, how...


Questions and doubts of young women.

from: Theaterkrant, 23 februari 2018, Ayden Dijkstra ★★★

In Role Model, DOX and NBprojects demonstrate the power of the individual within a group. With martial arts, vogue, hip hop, house, rap and song, six different women, different bodies, colours, hairstyles and characters show how being different is a force that only you control.

In an organic flow, a different dancer takes the lead every time. Like a role model who takes care that a different girl dares to take the lead. An interesting and powerful beginning with...


Cliché moral captivatingly portrayed in dance and rap

from: Scènes, 13 maart 2018, Léonie Sanders ★★★★

"Six young women dance on the stage; six utterly different personalities, but merging into unity. Unity in dance, dress and strong charisma."

"You are captivated straight away by the cool urban dance moves they show, and stay that way to the end. The performance is suitable for youths from the age of twelve, but interesting to adults, too."

"The moral of the story is: you can be who you wish to be and others can be who they wish to be....


Show yourself, baby!

from: 8Weekly, 23 maart 2018, Emilia Nova ★★★★

"Role Model is a swinging dance concert in which six young women celebrate who they are in dance, song and (self-written) texts. Not just girls, but boys too (and perhaps grown-up men and women) of all sorts, colours and sizes show how beautiful it is to be proud of yourself and of your uniqueness."

"Hugely entertaining performance."


Deviation ought to be the norm.

from: Parool, 15 maart 2018, Fritz de Jong

The central message of the youth dance performance Role Model is that role models don't exist. Or actually, that the role model does exist, but that it is you. Six dancers show their audience that deviation ought to be the norm and that you should rely on your own strength and talents.

Directors Nicole Beutler and Magne van den Berg work their way, along many side roads, towards a sparkling finale in which the six young women demonstrate that they can be whoever...


Recensie De Parade Telegraaf

from: Telegraaf, Esther Kleuver, 4 juli 2018

In een heerlijke energieke show zien we hoe [vijf vrouwen] starten als grijze muisjes, maar het gevecht aangaan en uitgroeien tot sterke, kleurrijke individuen.


Recensie De Parade Volkskrant

from: Volkskrant, Karin Veraart, 2 juli 2018 ★★★

Onzekerheid, eigenheid, en (vrouwelijke) solidariteit staan ook centraal in het aanstekelijke Role Model van DOX en Nicole Beutler. Zes danseressen in mooie, zilvergrijs gekleurde kleding komen samen in verscheidene fraaie formaties, afwisselend vrolijk, soms wat grimmig, dan weer geestig. In verschillende dansstijlen drukken ze hun stemmingen en gevoelens uit; ieder heeft zo haar verhaal of ervaring en doet daar op haar eigen manier verslag van, op enig moment ook in woorden. Dat laatste...


Recensie De Parade NRC

from: NRC, Ron Rijghard, 30 juni 2018 ★★★★

Echt helemaal zichzelf zijn juist de jonge danseressen in Role Model van DOX en Nicole Beutler, de choreografe die afgelopen week werd onderscheiden met de Gieskes-Strijbis Podiumprijs (60.000 euro) als een maker die het podiumlandschap verrijkt. De zes vrouwen ogen krachtig en stoer, zowel tijdens hun flitsende urban dance moves als in de momenten dat ze over zichzelf vertellen. Ze zijn niet doorsnee, zeggen ze, maar des te strijdbaarder. Hun kwetsbare én zelfbewuste houding maakt van...


Ik ben ik en jij bent jij

from: De Moanne, Elske Schotanus, 23 maart 2018.

Golvjende liven, betiden sensueel, betiden kwetsber, betiden eksplosyf. Hieltyd stiet ien fan de dûnsers sintraal, slute de oaren oan. It wite ljocht boppe it yn ljochtgriis klaaide seistal feroaret fan kleur as fiif fan har op oantrúnjen fan sjongeres Anne Fay Kops de catwalk op gean en even letter yn ’e ûnderklean stean. Mei in klap komt in enoarme steapel klean op it spylflak del, kostúms gean oan en, dûnsjendewei, sa gau mooglik wer út om plak te meitsjen foar oare kleanstikken....


The viewer feels handled in his cross

from: 28/8/2010


from: 26/8/2010

1: SONGS so much more than a feminist pop concert

from: March 2014

In all honesty, I think I’m still reeling from what I’ve witnessed. My brain can’t quite harness the sheer power and raw emotion that’s hit me like a speeding truck. Thinking back, I can’t remember the last time I felt so utterly blown away by a performance, if ever at all.

Before arriving at the Northern School of Contemporary Dance, to watch the performance of Nicole Beutler’s 1: Songs; I had very little idea of what was in store. Having read the event description, and watched...

the exact position of things


from: Trouw

In the excellent ‘the exact position of things’, two female dancers in the half-light skim around disorientation and the loss of reality. Sometimes they shuffle like old ladies fussing about laying an unsightly carpet, sometimes they are transported ecstatically in ‘silly’ dances that hilariously but poignantly underline the mental alienation. A desolate universe in which words lose their meaning and people hold on to solid shapes to save themselves from going under.

the exact position of things

both familiar and alien

from: Volkskrant

The two women in the exact position of thing draw you into a world that is both familiar and alien.

the exact position of things

The exact position of things Nicole Beutler Projects

from: uit: Movement Exposed, Bregtje Schudel, 30 nov 2019

Can a piece of theatre induce a deep sense of claustrophobia just by using the human voice? The exact position of things by Nicole Beutler Projects and Theater Malpertius – seen 27 November at Theater Ins Blau in Leiden – offers undeniable proof that, yes, it can!

Strikingly enough, the stage itself is anything but claustrophobic. It is almost bare: four chairs, a rug, an undefinable piece of black cloth and a string that turns on the light. Two female silhouettes (Hester van...


from: Trouw 10/07/2017

from: Volkskrant, 8 september 2017, Mirjam van der Linden

from: Theaterkrant 09/07/2017
6: The Square

6: THE SQUARE is a cry for freedom

from: De PIT 24/05/2016

It's friday evening. With a beer, I'm sitting in the 'Festival Heart' of SPRING, the lobby of the Stadsschouwburg. I am going to the premiere of 6: THE SQUARE. I do not have any prior knowledge of what I am about to see, and browsing through the program doesn't seem to clarify much: "In a festive ritual, eight dancers and one actress lead you through an impalpable landscape of possibilities." Choreographer Nicole Beutler explores 'the possible meanings of the square in our society.' Aha....

6: The Square

from: Het Parool 24/09/2016

Het Parool 24/09/2016 With her new piece 6: The Square, choreographer and director Nicole Beutler zooms in on the need of humanity to create order in a constantly changing world. It is the second part of Nicole Beutler’s (47) Bauhaus-trilogy on the basic principles of the circle, the square and the triangle. After creating politically engaged performances for a while, she now wanted to return to the essence of art.

“The time 2011-2012 was my most political phase, all my pieces had...

6: The Square

Beutler divides the hour stylistically into quarters

from: Volkskrant, 21/05/2016

“Surprisingly enough, she makes variations on the controlled patterns of nostalgic American square dancing. On a rigid square, the eight dancers dance zig zag mill figures, in which they rapidly change positions and partners, encouraged by a nice beat. The dance breathes a whiff of country and linedance, but then with hypnotic group patterns. Beutler divides the hour stylistically into quarters, with a returning element as starting point: The dancers repeatedly form the letters of the...

6: The Square

From abstract, rhythmic dance towards a teeming orgasmic climax

from: Metropolis M 12/09/2016

(…)Choreographer Nicole Beutler opens with the strong performance 6: THE SQUARE, a short version of her Bauhaus trilogy. The aforementioned yellow square offers the framework for an investigation into form, physicality and narrative within the performance art, functioning both as stage and artistic outline. Eight dancers and a ‘MC’ from the American Square Dance, literally feel the borders. The MC, wearing a traditional outfit including cowboy hat, encourages the audience and guides the...

6: The Square

It is an intelligent mix of events ***

from: Theaterkrant ***, 21/10/2016

“6: The Square contains some beautifully executed scenes. The opening dance is one of them. Sometimes it has the effect of a Mondriaan painting, but then one in which the lines are not set, but slide forward in direct angles. The movements are consistently tightly executed.
The linework is once more beautifully developed in a part in which the dancers, now dressed in various ‘ethnic’ outfits, in fixed duos, explore and exceed the lines of the square floor. The duos have been matched...

6: The Square

Does '6: The Square' think square?

from: Dans Magazine 21/05/2016

We're too focussed on creating order in chaos. This is the message that choreographer Nicole Beutler implies with her dance piece 6: The Square. The piece is performed in SPRING 2016, a ten-day festival presenting experimental dance, theatre, installations and lectures. Beutler exposes the tendency to stereotype without passing judgment.

THE SQUARE. The bodies of four male and four female dancers form these letters at the beginning of the performance. One boy, for instance,...

6: The Square

The Square: Thanks for Coming!

from: Inferno Magazine 22/05/2016

Utrecht, correspondent. 
The Square, choreography by Nicole Beutler – SPRING Festival Utrecht
Thank you for coming!

The small ritual of écriture corporelle done, the curtain raised, we are startled, apart from by the large metal tower and the clear square on the stage, by the four red liquid crystal numbers that indicate “65.00”. In this hour and five minutes, all that we will see is in real time, the minutes measured out by this bright red.

And what do we...

6: The Square

Squarophobia: The Fear of Square Dancing

from: Liefde voor Theater, 20/05/2016

During the dance performance 6: THE SQUARE by Nicole Beutler, we witness the gradual breakdown of order and demarcations in daily and urban life into an organic amalgam of people, culture, freedom and diversity.

Last night, SPRING opened its doors with 6: THE SQUARE by Nicole Beutler, which was appropriately rewarded with a standing ovation afterwards. I feel honoured and also humbled that I may write about this fantastic premiere performance.

Last year, Beutler...

6: The Square

6: THE SQUARE is genious 'in every way'!

from: Publieksreacties

"Oh my, Oh my! 6: THE SQUARE is G.E.N.I.O.U.S in every way! True(and)Joy! #NicoleBeutler! Left the Stadsschouwburg Amsterdam with a big smile on my face:-)))!"

"A wonderful, full evening of dance, flexible in movement, still perfectly executed and detailed in music and scenic image. Grabs the attention, eyes and ears, without pausing, through a story of (public) square, many squares and more colours and even more movement." - blog Martien Vogelezang, 04/10/2016


6: The Square


from: 20/05/2016

This is, I understand, the second in a trilogy of pieces coming out of Beutler’s interest in the Bauhaus. As the title suggests, there are squares in the scenography – on the floor, in the backdrop and lighting design – and square formations continually emerge in the choreography which, of course, also includes an American Square Dance section.
The idea of a square conjures up notions of robustness, stability, plain clarity, and solid predictability. In the early C20th, geometrical...

In her ongoing exploration of the history of dance Nicole Beutler has already presented her own take on two existing choreographies: one by Michel Fokine, in her 2007/2008 production Les Sylphides; the other by Lucinda Childs, in the 2010 piece 2: Dialogue with Lucinda. For 5: Echo Beutler has turned her attention to Dutch dance history.

For this piece, Beutler drew on the work of Koert Stuyf and Ellen Edinoff. No video recordings exist of their legendary shows of radical and...

On the edge of the stage stands a naked woman on red high heels, a pink headdress in her hand and a thin white robe over her shoulders. She starts talking, static, emphatically and pride. The clean lines of her muscular body absorb harsh shadows in the spotlight. The passionate, exalted speech by American dancer Kelly Hirina turns into manic movements reminiscent of the heydays of performance art in the 70s. The circle represents in this an anchor point where Hirina steps in or out. As in...


from: Cultureel Persbureau 13/12/2014

5: ECHO is a peculiar performance. All attention goes out to two famous pioneers of Dutch dance in the 60s and 70s: Ellen Edinoff and Bianca van Dillen. Still, Echo mostly shows how impossible (and maybe also undesirable) it is to want to revive faded glory. Dancer Kelly Hirina never becomes Ellen Edinoff. The ensemble of dancers that together with Beutler work on the rework of Vermiljoen, never radiate the artistic and feministic militancy that was so typical for female dance collectives...

Sometimes you need background knowledge about a work to assess its true value. For her new choreographic work performed as part of Julidans festival, Nicole Beutler drew on two important examples of Dutch dance from the 1970s: dancer Ellen Edinoff and her husband Koert Stuyf’s radical – often silent – solos performed at Amsterdam’s Carre theatre; and Bianca van Dillen’s sextet Vermiljoen, with its steps, leaps and kaleidoscopic figures around a circular form. But Beutler wasn’t about to do...


Polished reimagining of the power of the past ***

from: Trouw 11/07/2014

Although reinterpretations of existing work are common in theatre, one seldom encounters them in the modern dance world. Choreographer Nicole Beutler thinks that’s a pity, because good art always builds on what preceded it.
She has previously linked her own work to historical choreographies – to the extent that she might now be considered the voice of dance history in the Netherlands. In preparation for 5: ECHO Beutler, working in collaboration with ICK Amsterdam, immersed herself...


Ballroom and mating ritual ****

from: NRC, Francine van der Wiel, 5 november 2013

Een van de fraaiste momenten uit 4: Still Life, a dance duet van Nicole Beutler: een man en een vrouw vormen samen, zichzelf oprollend, een levend yin-en-yang-symbool, met twee complementaire, elkaar versterkende helften. Het is de culminatie van een abstract duet waarin het formele aspect steeds meer wordt geïnjecteerd met historische referenties en betekenisvolle associaties.

De Duits-Nederlandse Beutler is een conceptueel werkende choreografe die op een consequente en min of...


Dansante architectuur

from: De Standaard, Sarah Vankersschaever, 11 okt 2013

‘Het vierkant, de driehoek en de cirkel zijn het ABC van de Bauhausarchitect. Het is zijn taak om met deze vormen een gebouw te ontwerpen en een nieuwe ruimte te creëren.’ De Duits-Nederlandse choreografe en theatermaakster Nicole Beutler maakte een boekje bij haar nieuwe choreografie. Daarin vertelt ze kort waar ze de mosterd haalde voor haar duet 4: Still life: bij de Bauhausbeweging, waaronder ook het Triadisch Ballet van Oskar Schlemmer, maar evengoed de ruimere dansgeschiedenis van...


Dans: Te weinig hij en zij

from: Knack Focus, Els van Steenberghe, 18 oktober 2013 ★★

Hij en zij. Ze zitten op handen en knieën tegenover elkaar. Met hun zitvlak naar elkaar gekeerd. Elk leggen ze een been op de rug van de ander. Ze kruipen dichter bij elkaar en het been dat op de andere rug ligt, tillen ze omhoog. Het tweede been volgt. Hij en zij liggen nu met de benen in elkaar verstrengeld. Dan zakken de benen en plooien in elkaar. De twee schuifelen nog dichter bij elkaar. Ze zitten nu zo ineengedoken dat ze een 'hart van mensenvlees' vormen.

Nicole Beutler...


Dance duet with geometric elegance

from: Sapsite 23/12/2013

Sleek, superior and formal

from: Trouw 1/11/2013

The device of a man and a woman performing a duet onstage is a classic one. In 4: Still Life (the fourth in what can be regarded as a series of works), choreographer Nicole Beutler transports us back to the many manifestations of this coupling in Western cultural history – in dances in the court of the Sun King, in ballroom dancing and in the tango.

Beutler takes them and applies to them what we might by now describe as her ‘method’. Without ever descending into a treatise on dance...


from: Fritz de Jong, Parool, 3 april 2019

4: STILL LIFE by Nicole Beutler on tour

from: Arts Talk Magazine, 3 April 2019

There is a perfect fusion between form and narration, with an ambient musical background that, in some moments, turns into an insistent ticking clock, recalling the inevitable passage of time. As in real life, even on stage the bodies are sometimes absolutely distant, other times so close as to become a single entity, the completion of each other. There is a certain sensuality in seeing a body that follows the movements of the other with grace but also with decision.


When choreographer Nicole Beutler turns her attention to the duet in dance, you know in advance that the audience won’t be leaning back for a medley of intimate, passionate or joyous couple dances. That would be too easy. What Beutler has done is take the duet – two bodies in dialogue – as her departure point, and view it through the prism of an early 20th century Bauhaus artist. What we see are primarily geometric forms, and the result is austere, lucid, and abstract.



Beutler's fascinating still life ****

from: Theaterkrant 30/10/2013

"4: STILL LIFE is an intriguing dialogue between extremes, between static form and movement, spatiality and intimacy, fine arts and dance, and between today and yesterday. Beutler mixes and kneads the ingredients into an appetising, hyper-aesthetic and formal unified whole in which we are free to search for emotion and beads of sweat.’

It is quite miraculous how many dance styles 4: STILL LIFE encompasses and how effortlessly they flow into one another."

© Moos van den...

3: The Garden

from: 8Weekly 10/02/2016
3: The Garden

In Beutler's garden sin and innocence merge together

from: Het Parool 07/2/2016

In The Garden Nicole Beutler returns to Monte Verità, the Swiss artistscolony where the residents beginning last century walked around naked, made music, danced and gardened for their lives.

Rudolf von Laban (1879-1958) was there, he researched the basic principles of human movement. Gravity, balance and flowing energy marked his dance – qualities that we now see in Beutler’s choreography. It begins with a man and a woman on white artificial grass. It’s the Adam and Eve from...

"In the beginning there was nothing. Nothing was. So nothing wasn’t, too". Speaking in his soft Flemish lilt the man wearing the chequered lumberjack shirt waxes semi-philosophical on the creation of the world. He speaks in a continuous flow, a quality that permeates the entire performance. A powerful undercurrent steadily propels everything forward and binds it together organically – even when the ‘big bang’ resounds. And even when the Einstürzende Neubauten song The Garden, which starts...

2: Dialogue with Lucinda

Beutler perfects old choreography

from: Het Parool 29/11/2010
2: Dialogue with Lucinda

Beutler one step removed from Childs' dance language

from: Trouw 29/3/2010
2: Dialogue with Lucinda

Festival of Miniatures - Dialogue with Lucinda

from: The Stage 30/9/2010

Nicole Beutler has adapted two mid-seventies works by radical New York choreographer Lucinda Childs by adding recorded music and fragments of live sound.

At 18 minutes, Radial Courses is the most extreme, with the four dancers marching around the stage in perfect synchronised formation before slipping in and out of the rigid system, creating cross-complementary patterns and rhythms.

It is subtle and hypnotic, though making the audience stand around the edge is unusually...

2: Dialogue with Lucinda

Spirited plunge into the work of a dance rebel ****

from: Volkskrant 26/3/2010
Genevieve Murphy: Something In This Universe

Resplendent madness offers consolation

from: Musicalnieuws, 23 mei 2018, Elise Kant

"And suddenly it's there, the consolation. Consolation for your own madness, comfortably set right next to you in stead of kept far away."

Read at

Genevieve Murphy: Something In This Universe

Alle Tassen im Schrank?

from: Republik (CH), Barbara Villiger Heilig, 20 augustus 2019

"Denn die schottische Künstlerin Genevieve Murphy betätigte sich auf der Bühne als Küchenfee der Hardcore-Klasse. Als Küchenhexe sozusagen oder als Hexenmeisterin, der die Küche nach und nach über den Kopf wächst.

Zu Beginn ist alles blitzblank: eine gelbe Küchenzeile mit Wasserkocher, Herdplatte, Einbauschränken. Die Küchenfee profiliert sich vorerst als Putzteufel. Nachdem sie mit penibler Genauigkeit Zutaten abgemessen und aufgesetzt hat, greift sie zum Schwamm und scheuert die...

Genevieve Murphy: Something In This Universe

A perfect mess

from: Theaterkrant, 23 mei 2018, Caroline Verduijn ★★★★

"How neat and meticulous should you be to reach perfection? What is perfection anyway? Where is the turningpoint between perfection and madness? (...) [Genevevieve Murphy] makes your wildest childhood dreams come true and at the same time cringe with frustration."

"Her actions give satisfaction in two ways: on the one hand there's the teabags hanging at a precise distance from each other, and the cartons of cornflower neatly in a row. On the other hand there's the...


An hour-long performance of Purcell's most famous aria

from: NRC, 9 nov 2017, Joep Stapel ★★★

Dido Dido is an extractively pure theatre of body, voice and breath that captivates the attention with a strong rhythm and beautiful finds.


It starts off already with a brilliantly developed recitation relay, in which six characters declaim individual words in alternation, faster and faster, and then collectively, after which the buzzing itself becomes a rhythm moving in and out of sync. At precisely the right moment you are enthralled by a hummed version of...


Breathtaking DIDO DIDO captivates your soul

from:, 10 nov 2017 ★★★★★

Don't deny yourself what may well be the most beautiful piece you'll ever see. Allow yourself that. That feeling of wishing it will never stop. Because it has soul. Because it touches your soul. Because it's a coiling seething soothing confounding moving intensely magnificent gratifying breath of air.


A raw but enchanting, fierce but oh so precious history, desperate and clinging to life, with words, music, instruments, people and a puppet. It touches deeper...


Invigorating deconstruction of the most melancholy baroque aria

from:, 10 nov 2017, Max Arian ★★★★

It is such a well-loved piece of music, that it challenges artists to do something special with it. That is indeed also the danger. Romain Bischoff, music director of the eccentric opera ensemble Silbersee, and director and choreographer Nicole Beutler have lived up to that challenge, successfully.


The puppet designed by Ulrike Quade in the Japanese tradition of bunraku moves endearingly, curious and humanlike. One of the men takes her in his arms and dances...


Only Dido's final aria is performed

from: Parool, 10 nov 2017, Jacq Algra ★★★

The opening of Dido is still and beautiful.


Not only do the musicians sing well; they also play the harmonium, kemenche and fujara and thereby introduce a more oriental world of sound.


It touches you (...) when the female dancer, who was chanting 'no trouble' at the top of her voice when the evening was still young, crashes to the floor.



Theatrical adaptation of Dido and Aeneas ends with a blow in the face

from: Volkskrant, 13 nov 2017, Guido van Oorschot ★★★★

Eventually everyone caves in to the sheer force of Purcell's notes. The performance ends with a blow in the face.


You try watching that dry-eyed.

Read more (in Dutch)


Moving from start to finish, and indeed breathtaking at the end.

from: El Balandre, 14 nov 2017, Jordi Ribot Thunnissen

Dido Dido is phenomenally good. Moving from start to finish, and indeed breathtaking at the end.


And what a performance! Such dedication, and such beauty!


A choreographer who may well be called a master of revisitation. With her analytical, seemingly cold application of choreographic methods, Nicole Beutler cuts through dance pieces, songs or themes from a distant past or from the present. She sets to work like an...


DIDO DIDO in Operadagen at Rotterdam Schouwburg

from: Artist Talk Magazine, 26 mei 2018, Michael Hasted

"Nicole Beutler’s Dido Dido with the experimental opera company Silbersee and co-producers the Ulrike Quade Company proves emphatically that a little can go a very long way. Using only Henry Purcell’s twenty-nine word, two stanza aria from his opera Dido and Aeneas, repeated in various forms ad infinitum, the ensemble weaves a mesmerizing web of intricate and complex patterns."

"Beautifully staged with an elegant simplicity, Dido Dido was one of the best things I have seen in...


from: Volkskrant, Karin Veraart, 8 november 2018 ★★★★

from: Theaterkrant, Wendy Lubberding, 9 november 2018

from: De Telegraaf, Esther Kleuver, 9 nov 2018 (★★1/2)

from: NRC Online, Elisabeth Oosterling, 9 november 2018

A vulnerable attempt

from: De Groene Amsterdammer, Marijn Lems, 28 november 2018

Ze staan in de hoek van het speelvlak, de vier theatervedettes. Vriendelijk en nieuwsgierig begroeten ze het binnenstromende publiek, alsof we oude vrienden zijn. Het is een ontwapenend beeld, hoe ze daar staan, lichtjes voorover gebogen, gespannen maar gretig om te beginnen. Alsof ze het gevoel van hun allereerste theatervoorstelling, de adrenaline, de zenuwen, het gevoel dat alles op het spel staat, nooit zijn kwijtgeraakt.

Vier jaar geleden maakten choreograaf Nicole Beutler en...


Puppetry of exceptional quality ****

from: De Standaard 16/11/2012

The name Antigone is part of our collective history. She is the tragic heroine who gave up her life for a higher purpose by going against royal authority and burying her dead brother. But who of us still remembers her sister Ismene? Nicole Beutler and Ulrike Quade want to rehabilitate her name.

Choreographer Nicole Beutler and puppet theatre director Ulrike Quade drew inspiration for this adaptation of the Sophocles tragedy from bunraku, a Japanese form of puppet drama for...


Puppets make tragedy palpable ****

from: Theaterkrant 20/9/2012

We hear the menacing sounds of exploding shells and rattling machine guns. The conflict playing out before us looks set to lead to inevitable disaster. But by the time Polynices finally falls to the ground we have, remarkably enough, already seen three performers depart this world, one by one. That’s because in this new adaptation of Sophocles’ Antigone by director Ulrike Quade and choreographer Nicole Beutler, Polynices is a puppet – a puppet whom the same three cast members bring to life...


Little more Antigone is welcomed in this world

from: Trouw 18/9/2012

stil to be translated


Y Generation Festival: Small, great tastes of dance

from: Uit PAC Magazine di Arte & Culture 18/10/2016

During the Y Generation Festival, two works embodied the need to experiment with new methods of communication and the new generation, as well as the need to facilitate an inter-generational exchange through dance languages.

The Belgian group fABULEUS, with DECLARATION OF LOVE, and the company Abbondaza/Bertoni I BAMBINI, with DUEL_TERZA GENERAZIONE, open up new perspectives on dance for and with youngsters. These works manage to establish a language that crosses and involves the...

"In ‘Liefdesverklaring’ the actors wliterally reach out their hand to the audience and hug them in a manner that is simultaneously high-spirited, awkward and consummately skilful."

“More than solely an exuberant celebration of theatre and its audience, this is first and foremost a mischievous appeal: dare to be yourself, a performer in life.”

© Els Van Steenberghe


These young people have got it all ****

from: Theaterkrant 10/10/2014

“The stark staging, the intelligent and joyful acting, and the infectious performances combining physical movement and voice make for such a delightful experience. Allen Assi, Bastien Bodarwé, Siska Building, Laetitia Janssens, Stephanie Peeters and Jonas Vermeulen: these young people have got it all.”

© Tuur Devens


from: Publieksreacties

The performers’ purity is highlighted, and it’s exquisite *****

from: de Volkskrant 21/11/2014

Breakin'Walls theatre festival for young people has got itself a smash hit: Liefdesverklaring. This ‘shadow version’ of Peter Handkes classic stage text Publikumsbeschimpfung (Offending the Audience) cherishes its audience, rather than offending it. Six young performers from the Flemish theatre production house fABULEUS have reached the top of their game working with Netherlands-based choreographer Nicole Beutler and writer Magne van den Berg.

In 1966, when Handke was the age of...


Love, time and sharing space ****

from: Het Parool 20/11/2014

So, there they stand: Jonas, Siska, Stephanie, Laetitia, Bastien and Allen. Their ages range from 18 to 22, and their performances are out of this world. After studying acting, music and dance, for the last three years they have been working at Fabuleus production house in Leuven, Belgium.

‘We’re testing out the possibilities of theatre here. This is the world and you’re the reason.’ The six cast members each have a microphone, and they speak to us rhythmically, in unison. We are...



Dancing Beyond (18/6/2013, Volkskrant)

from: Volkskrant 18/6/2013

Tonight at the Holland Festival the Dutch première of Shirokuro of choreographer Nicole Beutler takes place. She explains how music, dance and light merge in the performance. ‘My love for piano is so big that I secretly always wanted a man who plays piano’, Nicole Beutler (44), choreographer, blurts out, and immediately regrets it. ‘Too personal.’ What she wants to say: the piano is the most beautiful instrument there is. ‘As a child I listened to my grandmother for hours. When she wasn’t...


Extreme contrast in striking images ****

from: Trouw 17/6/2013

Nicole Beutler likes to speak of ‘Gesamtkunstwerken’ when she talks about her work. She weaves all ingredients that the choreographer has at her disposal into an intelligent construction of sensory experience. For the dance concert ‘Shirokuro’ she started a cooperation with Jean Kalman and pianist Tomokoya Mukaiyama. By choosing the last, Beutler made it herself a little easier than in previous work. Because Mukaiyama, known in the dance for among others her work with Jirí Kylián, is...


Dancing in the shadow of your counterpart ****

from: Theaterkrant 30/1/2013

Shirokuro plays off extremes against one another: darkness against light; sound against silence; playful humour against rigidity. The Japanese title literally means ‘black-white’. It is a co-creation by pianist and visual artist Tomoko Mukaiyama, choreographer Nicole Beutler and lighting designer Jean Kalman, and it is guided throughout by the impassioned and uncompromising music of Russian composer Galina Ustwolskaja. Shirokuro is an aesthetic experience packed with pathos and the...

Cadavre Exquis

Team-relay performance fascinates from the beginning to the end ***

from: Theaterkrant 26/9/2012

The premise of Dutch company Kassys' Cadavre Exquis appears simple: four theatre companies contribute one performer and one director each to the creation of a new work of theatre, to be composed in four separate segments of 15 minutes each.

The complicating factors unfold from here. The performers are from four different countries and four entirely different working methodologies. While the performers are housed together over the 10 weeks of the work's development, the four...

Cadavre Exquis

Surrealist Games: Cadavre Exquis by Kassys

from: 13/9/2012

This quirky experiment in theatrical form and content is steeped in surrealist history and European intellectualism. However, in practice Kassys have produced nothing so heavy; Cadavre Exquis is a rapid journey through pathos and innocence via various visual jokes, performed by four pleasingly-naive characters who seem almost as surprised by the twists and turns of the production as the audience.

Conceived by Kassys' Liesbeth Gritter, this production - as she charmingly explains...

Lost Is My Quiet Forever

from: 2/10/2008
Lost Is My Quiet Forever

Call into question the sincerity of emotions on lavish dance ****

from: Volkskrant 22/9/2008
Les Sylphides

Les Sylphides

from: Marcelle Schots, Theatermaker

The classical movement phrases, usually observed on a big stage from great distance, seems more delicate here – especially when one of the dancers asks for support from the audience. But at the same time this piece also underlines the virtuosity of the form. This combination shines another light on classical dance, making for an intimate and deeply fascinating experience. 

© Marcelle Schots

Les Sylphides

Is this really dance?

from: Trouw 17/4/2008