Neue Zuger Zeitung, Michael Nyffenegger, 18.07.2014:
“The transparent stage design (Christoph Weyers) made of black steel tubes with the silhouettes of London with Big Ben and Tower Bridge is storm-proof. But it also leaves the view of the lake and the Churfirsten mountains unobstructed, contributing to the overall atmospheric experience.”

Landbote.ch, Walenseebühne, 18.07.2014:
“An iron construction draws the panorama of London with Tower Bridge between the mountain flanks and the evening sky over the lake, and the graphic of the iron also defines all the settings on the revolving stage easily and coherently with the story. In the Belle Époque of the play, iron was the fashionable architectural material, and so the street scenes between market carts and rubbish bins, like the embassy palace of high society on Lake Walen, have their perfect location, charmingly enriched by props (overall design: Christoph Weyers) and are played by characters whose costumes are a feast for the eyes, including the clothes of the fine ladies as well as the coarse clothes of the street people. [...]”

That's musical.de, Iris Steger, 25.07.2014:
“The stage design by Christoph Weyers with its London skyline leaves a coherent overall impression and fits wonderfully into the mountain panorama at Lake Walen. Selected props complement the stage set appropriately. A revolving stage allows the scene changes without much changeover time and noise.”

Blickpunkt musical, Walensee-Bühne, Michel Honold, 14.08.2014:
“This year's highlight of the Walensee stage is once again the set design by Christoph Weyers, which offers a view of Lake Walen from almost every seat. After wood dominated the look in “Tell” two years ago, the stage set of “My Fair Lady” now consists of a not quite geographically accurate skyline of London with Saint-Paul’s Cathedral, the Palace of Westinster including Elisabeth Tower and Nelson’s Column and, of course, Tower Bridge, executed as a steel skeleton. Below the latter is a gap between the two monumental staircases to the left and right of the main playing area, so that, at least for the centrally seated viewer, the view of Lake Walen is unobstructed, which thus becomes the Thames. All this forms the framework for the actual main performance area, which is designed as a large revolving stage on which a variably used structure stands on angular steel tubes, which in interaction with movable elements and a few props depicts all the locations of the action. Only in the second act, when the sun has slowly set, does the atmospheric lighting (lighting design: Rüdiger Benz) reveal the full potential of the variable stage with its largely transparent elements.”