Fyens Stiftstidende, Aksel Brahe

Hans Clodhopper is a fine and stimulating experience, which all age groups can enjoy. Peter Seligmann has dramatised the fairytale and added a light modernization with some topical digs, and he himself plays all the male characters with admirable vitality and variation. There are only nice things to say about this Hans Christian Andersen reinterpretation, which unites the power of the harp with the magic of the fairytale and a lot of music.

Århus Stiftstidende, Kirsten Dahl

Seligmann is brilliant storyteller. Well guided by Hans Rønne’s subtle direction and Gitte Baastrup’s simple and beautiful room.

A wonderful musical and dramatic Hans Christian Andersen-adaption, which also trust children (8-12) and adults alike to make up their own fantastic images on the basis of the two actors’ inspiring theatrical play in an audience-enveloping soft room, where the harp and the harp’s box are the only props.

Børneteater Avisen, Randi K. Pedersen

“Hans Clodhopper” is a bold and successful adaption of the classic in the spirit of the author. Hans Clodhopper is not alone on stage. Besides the lovely harpist, who sits in state in her wine red plush dress and also plays the princess, there is constantly a swarm of people on stage. All of them created by the same, brilliant actor, Peter Seligmann. He is so precise in his often very short characterizations that none of the well-known figures from the Andersen universe stands weak or dim. A bold experiment, which not only lets the play take place as a dialogue between lines and music. But which also dares to let Hans and the princess communicate in antiphony, yes and even in duet, which is closer to current composition music than modern pop. The theatre has once again been a pioneer when it comes to new music drama for children.

 

Fyns Amts Avis, Iben Friis Jensen

Peter Seligmann and Anette Gøl know how a fairytale must sound. Alluring, pure and magical. It is the word and the ear, which Peter Seligmann and Anette Gøl cater for with their version of H.C. Andersen’s well-known fairytale, Hans Clodhopper. There are titbits for adults as well as children following the motto; good children’s’ theatre is also good grownup theatre.

Folkeskolen

All the parts, except the princess, is played by the same person, but every time he is someone else than Hans Clodhopper, we see the comedy with the eyes of Hans Clodhopper. We, the audience, was Hans Clodhopper, especially the children and that was fun. There was a kind of mutual identification between actors and children and it worked fantastically well. Hans Clodhopper is a performance in the spirit of the fairytale. Well played, funny and very entertaining.

Jutarnji list 1., Zagreb, NinaOzegovic

It is creative, poetic and possesses a unique, mobile and simple theatre technique, which in this case proved to be the best way of communication with a small audience. The fascinating humour of Seligmann and his impressive capability and transformation as well as silliness, which children especially like, simply overwhelm the audience.

Hrvatsko Siovo, Lucija Ljubic

 

The most interesting part of the performance is its beginning, when the leading actor, Peter Seligmann, prepares the audience for the performance by telling them the story and finally asking them to take off their shoes.Once again it is been proven that small theatre companies of up to four are the best way of concentrating on the audience and forming a positive relationship with the children communication.

Vorstadt-Theater, Christian Fink

Die Vorstellung aus Dänemark lebt stark von der flexiblen schauspielerischen Leitung Seligmanns, die sehr subtil mit der klanglichen Präsenz des Harfenspiels und gesangs von Anette Gøl verzahnt ist.

Leonberg- Lokale Kultur, Nicola Schwannauer

Die jungen Zuschauer in der Steinturnhalle waren gespannte Zuhörer, die nach dem Ende der erzählung einen genauen Blick ins Innere der wenigen Requisiten werfen durften.

Kieler Nachrichten, Sabine Tholund

Peter Seligmann ist zu verdanken, dass aus dem netten Andersen-Märchen ein 50-Minuten-Spetakel, ein Feuerwerk von Lebendigkeit und Witz wird.

Mitteldeutsche Zeitung, Andres Hillger

Töpelhans war die beste Inszenierung an der Internationales Kinder- und Jugendtheaterfeatival. Die sparsame, dabei in allen Details ungemein präzise Auffürung erwies sich als Modell eines Theater, das sich seiner kargen Mittel bewusst ist und den finanziellen Mangel phantasievoll ausgleicht.
Denn ausser jenem weiten, roten Samtkleid, das von der hohen Warte der Harfenspielerin Anette Gøl in die Weite des Zuschauerraums fiel, hatten die Künstler auf alle branchenüblichen Accessoires verzichtet, Ihre Geschichte entwickelte sich vielmehr in Herz und Hirn des Erzählers Peter Seligmann, der das Märchen von H.C.Andersen zu einem Parforceritt durch die Schauspielkunst nutzte. In einer konzentrierten Komposition wurde hier der ungetrübten Bauernschläue ein Loblied gesungen und trockenem Lehrbuchwissen eine Abfuhr erteilt: So schön und so einfach kann das Theater sein!