My Fair Lady

Der Opernfreund, 24.10.2017: 
“(...) The positive overall picture of the production is rounded off by the stage design by Christoph Weyers, who has already equipped several large musical productions. Weyers uses a steel construction on a large revolving stage that constantly offers new perspectives and depicts both the street scenes and the interior of Professor Henry Higgins’ flat in great detail. The construction is based on London’s Covent Garden, a really beautiful realisation. (...) This is definitely top league staging.” 

Westdeutsche Zeitung, 23.10.2017:
“(...) And suddenly we are in London around 1912. The furnishings (Christoph Weyers) correspond precisely to the era of Edward VII until the outbreak of the First World War. The stage, which consists of poles, can be changed quickly and is rotatable. This allows the scenes to flow into each other, which brings an entertaining dynamic to the action. Everything is in motion or on the move; the tension never breaks. So there are no “stretches”. Wonderful!”

Westfalenpost, 24.10.2017: 
“The market halls of Covent Garden in London are a spectacular example of the new iron architecture at the turn of the 19th century, and stage designer Christoph Weyers literally makes them the fulcrum of his spatial concept. The delicate construction is both a square, pub, study, racetrack box and garden pavilion all at once. The pictorial lightness of this idea corresponds with the unagitated accuracy with which director Cusch Jung casts the roles with really great actors without straining clichés.” 

Theaterdistrikt, Stephan Walzl, 05.06. 2016: 
“Besides the cast and the orchestra, the great production design is the star of the evening. The Edwardian costumes by Sven Bindseil are a feast for the eyes (those hats!) and the set design by Christoph Weyers is exactly to my tastes when it comes to stage aesthetics. Inspired by the architecture of Covent Garden’s flower market, the giant aluminium scaffolding is constantly in motion, taking us on something like a carousel ride from the market outside the Royal Opera House to Higgins’ library, to Buckingham Palace, Mrs Higgins’ Victorian flower garden or Ascot horse racing.” 

Musical1, N. Kroj, 04.11.2015: 
“The stage (by Christoph Weyers) is filled with a huge revolving element made of welded aluminium and, depending on the rotation, covers all the play’s locations with just a few props. Due to the dynamics of the revolving stage, all scenes go smoothly without long changes and bring variety and entertainment to the musical [...] The stage goes from Covent Garden in London, where Higgins is studying language and Eliza meets him, to Higgins’ house, where a wager is made between him and Colonel Pickering to make Eliza a lady within six months. The society attending the horse race at Ascot can also be depicted with stair elements and a raised balcony without much imagination. In this scene, the Pfalztheater has a large cast with ballet and extras, who show off Sven Bindseil’s detailed costumes. 

Musicalzentrale, 09.11.2015: 
“Christoph Weyers’ revolving stage, which makes larger scene changes unnecessary, is reminiscent in its simple elegance of the glass and steel constructions of the late 19th century – a direct reference to the Floral Hall of London’s Royal Opera House, in front of which the first scene is set. A lush feast for the eyes with attention to detail (...)” 

Blickpunkt musical, 11.2015/01.2016: 
“[...] and then, the surprise: the stage design by Christoph Weyers! It depicts a transparent and atmospheric world of 1900, settings that are real but transparent like the Crystal Palace of steel and glass at the 1851 World’s Fair in London, the symbol of the Victorian age. With staged transitions, scene after scene transforms on the revolving stage [...] Each scene ends as a tableau - as if “photographed” in sepia. At the end, all the “photos” are projected onto the gauze curtain once more, while the ballet dances its farewell to the audience for the play-off - a beautiful, never-before-seen conceit.”