Omroep Gelderland, Marvin Hop, 03. Juli 2022

NRC recensie

De Stentor, Sandra van Maanen, 30 juni 2022

Amateur talent from Apeldoorn also got parts. From maidservant, statue in the palace garden to deer on the run. Koerselman - concept developer, co-author, stage director and music compiler - deliberately opted for a mix of professionals and amateurs, young and old. "That's what I like best about theatre, it demands a lot from me as a stage director. Leading roles are for professionals, but the combination produces involvement and uniqueness. It is interesting to come across hidden talents and surprises. Fourteen players from Apeldoorn and the surrounding area have supporting roles, sometimes several. They are my local tools. I ask a lot of them.
Loo has been renovated and is moving with the times. Yet for Koerselman the interesting thing is what the palace used to experience. Who were the residents? What was Lodewijk Napoleon supposed to do with it, why was the palace completely renovated by him? Loo provides a source of material in which I have made clear scene choices. From the revolutions that took place there, to the sad loneliness of the vacancy. What will certainly come in: the bastard children who were conceived by the residents. I connect that theme to the hunt around Loo.

Stentor 22april2021 448

De Stedendriehoek, 28 juni 2022

Stentor 22april2021 448

Apeldoorn Direct, Pedro Waldenaar,  02 juli 2022

ApeldoornDirect Loo 448

De Stentor, Ingrid Willems,  April 22, 2021

In the performance I want to show the struggle of Palace Het Loo's right to exist.
[Palace] Het Loo is existing for almost four hundred years and I notice that in the west of the country where I live, hardly any attention is paid to it. While I think: Het Loo is such an important part of the Dutch identity. The Palace has grown with us for four hundred years and has gone through all the phases.

Stentor 22april2021 448

 Video © Ingrid Willems/De Stentor

Apeldoorn Direct, David Levie,  April 22, 2021


 

ApeldoornDirect Loo 448

Photos LOO © Peter Vroon & Robert Voss

01 LOO_©Peter Vroon02 LOO_©Peter Vroon03 LOO_©Peter Vroon04 LOO_©Peter Vroon05 LOO_©Peter Vroon06 LOO_©Peter Vroon07 LOO_©Peter Vroon08 LOO_©Peter Vroon09 LOO_©Peter Vroon10 LOO_©Peter Vroon11 LOO_©Peter Vroon12 LOO_©Peter Vroon13 LOO_©Peter Vroon14 LOO_©Peter Vroon15 LOO_©Peter Vroon16 LOO_©Peter Vroon17 LOO_©Rob Voss18 LOO_©Rob Voss19 LOO_©Rob Voss20 LOO_©Peter Vroon21 LOO_©Rob Voss22 LOO_©Rob Voss23 LOO_©Rob Voss24 LOO_©Rob Voss25 LOO_©Rob Voss26 LOO_©Rob Voss27 LOO_©Peter Vroon28 LOO_©Rob Voss29 LOO_©Rob Voss30 LOO_©Peter Vroon31 LOO_©Peter Vroon32 LOO_©Rob Voss33 LOO_©Rob Voss34 LOO_©Rob Voss35 LOO_©Peter Vroon36 LOO_©Rob Voss37 LOO_©Rob Voss38 LOO_©Rob Voss39 LOO_©Peter Vroon