Titanic (Brno)

Iva Bryndová, www.musical.cz, 4. 2. 2016 :
TITANIC - THE MUSICAL: THE MOST FAMOUS SEA DISASTER ON THE STAGE OF THE BRNO CITY THEATRE 

(...) The stage design by Christoph Weyers is also rich and magnificent. It is full of great, original ideas, with spaces for passengers of each class, the captain’s bridge and open decks gradually opening up in front of the audience. All of this without the whole ship appearing on stage. (...) 

Lukáš Dubský, www.i-divadlo.cz, 7. 4. 2016 :
HIS IS THE FATE OF THE QUEEN OF THE OCEAN 

(...) Stage designer Christoph Weyers knew how to build a sensible construction on the music stage of the Brno City Theatre, which leads the audience to all the hidden places of the majestic steamship without complicated reconstruction work. The scene of the collision with the iceberg, which is difficult to stage, is cleverly communicated visually and acoustically, with images that send shivers down your spine. (...) 

Luboš Mareček, www.mestohudby.cz, 20. 1. 2016:
TITANIC PRODUCTION THAT DOES NOT SINK TO THE BOTTOM OF THE SEA 

(...) The monumental and majestic stage design by Christoph Weyers is unparalleled. The audience can see effective and realistic depictions of the details of the largest ship in the world at the time, whether it is the embarkation of passengers, the dining room for the wealthy, the boiler room or detailed equipment of the telegraphic or stenographic cabin. Presenting these details of the ship, Weyers awakens the fantastic idea of what a respectable giant and at the same time also imaginary monument to the technical pride of mankind the Titanic was. The bombastic end of the first half of this two and a half hour long evening is provided by the silhouette of a huge white block of ice during the collision with the iceberg, which pushes its way onto the stage and, in a rough defile, those who sank to the bottom of the sea during the collision and did not survive the shipping stand straight on this block of ice with sharp thorns. (...) 

Vratislav Mlčoch, www.babocka.vram.cz, 18. 1. 2016:
THE TITANIC – A SHIP FULL OF HOPE 

(...) I was curious to see how the director would solve the collision with the iceberg and the subsequent sinking of the ship. And I have to take my hat off; it was inventive, tragic, sometimes heroic, other times cowardly, always touching, especially thanks to perfect imaginative set design. (...) The finale with the rescued people in the foreground and those who perished standing on the towering iceberg is unforgettable. (...) 

Vítězslav Sladký, www.musical-opereta.cz, 18. 1. 2016 :
GET UP TO THE DECK OF THE TITANIC! AND TAKE YOUR HANDKERCHIEFS WITH YOU! 

(...) In classical theatre, the director had to make do with more limited realities, yet the stage design conception is magnificent. Christoph Weyers designed a dominant captain’s bridge just as effectively as the cabins and halls of all three classes; the boiler room and the telegrapher's study are also realistic. I find the illusory transformation of the iceberg into a cathedral, which shiveringly connects the world of the survivors with the Pieta to the victims of the catastrophe, to be extremely imaginative, especially at the end. 

Kateřina Šebelová, www.epochtimes.cz, 22. 1. 2016:
THE TITANIC IN BRNO KNOWS HOW TO BRING THE AUDIENCE ONTO THE DECK 

(...) The excellently crafted stage design by Christoph Weyers knows how to bring the audience onto the deck of the Titanic without the whole ship being visible. And yet the actors still move in time and space together with the audience. The individual parts of the famous ship transform as needed into cabins for all three classes, captain’s bridge, deck and masthead for the watch. The collision of the Titanic with the iceberg was also solved excellently. (...) 

Jaroslav Štěpaník, www.literarky.cz, 21. 1. 2016:
TITANIC – THE MUSICAL – CZECH PREMIERE AT THE BRNO CITY THEATRE 

The stage design itself (Christoph Weyers) is breathtakingly solved, enables dynamic division, forms an almost magical and yet realistic image, and with the help of the lighting (David Kachlíř) emotively colours and highlights the action. The captain’s bridge has a dominant position in on the whole stage, while the “cut-outs” allow the audience to see into the action, from the lower deck and engine room to the luxury of the first class.