Pardon my English

Klassik.com: 
“Christoph Weyers' intimate and quickly transformable stage consists of stylish-looking empty plastic/lemonade bottles built into counters, tables, beds and seating areas....” Da Capo: “A certain degree of local patriotism pervades Christoph Weyers' set in and gives the play a charm of its own. The psychiatrists' straitjackets printed with the Dresden city map provide many laughs and the gaudy clothes of the nightclub singer Gitta stand out from the crowd just like her personality. However, Christoph Weyers keeps the majority of his costumes in the colours of the Dresden city coat of arms, black and yellow. Sometimes it looks a bit like Maya the Bee, but Weyers cleverly avoids the criticism by ironically just briefly putting antennae and bee wings on the waitresses in the opening scene. This fits the absurd tone of the musical just as well as the somewhat different stage design. From the chair to the safe to the bar with the outline of the Frauenkirche - everything was built from vast quantities of empty water bottles. This idea is as fitting as it is ingenious for this piece, symbolising at the same time the non-existence of non-alcoholic beverages as well as the ubiquitous desire of the citizens for them. The colour-coordinated lighting, together with the stage set, creates a very beautiful visual impression.” 

Blickpunkt musical: 
“Christoph Weyers does the same with the stage design. Empty plastic water bottles form the furniture such as couch, chair, table and counter. The latter also alludes to the shape of the Dresden Frauenkirche. The rotating mirror surfaces are also amusing. This clear concept allows the stage to be completely immersed in changing light. The director also plays wonderfully with the open conversions, when the characters have their furniture removed in the middle of singing. But the concept wears out quickly. Fortunately there is an inclined bed from which Golo and Frieda slide down slapstick-like in their love duet. The yellow and black colour concept is consistently implemented in the costume design. Golo simply turns his jacket inside out when he becomes Mickael. The chorus and ballet are also subordinated to the style, while still emphasising their respective individuality.”