LAND OF OVERSEAS (Idea, Stage Direction, Musical Dramaturgy, Set- & Videodesign)
Stage director Annechien Koerselman also provides in speed and dynamics through staging the actresses in a set, that can change in all kind of areas and rooms. In addition, she adds a layer through music that consists of a variety of American styles, such as blues, folk and traditionals.
De Volkskrant, Vincent Kouters
... Land of Overseas is a performance, in which is carefully taken care of all the details. Tasteful images, a well-considered stage direction, a multifunctional rustic cabinet annex seating furniture. Luckily not only to be seen in Sealand ...
Theaterkrant, Dick van Teylingen
PAGLIACCIO (Idea, Concept, Playwright, Stage Direction)
Stage director Annechien Koerselman created a very nice over-the-top drama. The actors cry, shout, curse and fight and all for love.
8Weekly, Annemarike Ruitenbeek
Stage director Annechien Koerselman has created a very special performance.
BLUEBEARD (Idea, Concept, Translation, Stage Direction, Musical Composition, Co-Producer)
Annechien Koerselman created a convincing performance and delivers again a testament to her talent as a stage director.
De Theatermaker, Constant Meijers
In this interesting and special staging by the young stage director Annechien Koerselman movement and music bulk largely. […] Through this a surprisingly layered performance comes alive with a universal core: the search for (eternal) love and the powerlessness of the man to properly nurture love.
De Volkskrant, Karen Veraart
THE HOUSE OF THE FUTURE (Concept, Stage Adaptation, Stage Direction, Musical Composition)
The performance of stage director Annechien Koerselman is not the literary theater after which you don't have to read the book anymore. [...] Koerselman shifts the focus, distorts the atmosphere and shuffles with time. And thus the stage director bends Benn Jellouns strange legend [...] fully to her will. Koerselman tells her own story [...] In this way, Koerselman makes out of a sinister book sparkling theater. Without losing Ben Jellouns spirit. Cleverly done.
AD (Haagsche Courant), Maja Landeweer
BONNIE & CLYDE (Idea, Concept, Playwright, Stage Direction, Musical Composition, Producer)
Stage director Annechien Koerselman is not eschewing the substantive content [...] the texts and the furnishing (the atmospheric set by Yvon Muller and the detailed costumes by Jookje Zweedijk) exceed the carnival feeling [of the festival].
Telegraaf, Esther Kleuver
This romantic cowboy comedy is filled with dancing and singing, shooting and robbing. All great ingredients for a performance packed with entertainment. 'Bonnie and Clyde ' is a flashy performance that is full of adrenaline.
Theaterjournaal.nl, Chris Belloni
THE LITTLE UGLY DUCK (Idea, Concept, Stage Direction, Set- & Videodesign)
So it is possible [...] making fascinating theater, suitable for both children and adults. The combination of acting, vocals, music and text in the little ugly duck - a loose adaptation of the story by Hans Andersen, conceived and directed by Annechien Koerselman -led to a strong and creative performance lasting 75 minutes which was really telling something.
THE GARDEN OF EARTHLY DELIGHTS (Stage Direction & Videodesign)
On a large milky white globe images of Bosch's Garden of earthly delights are shown in ever-changing rhythms. [...] And if you are watching this in the supermusical context of synchronous and asynchronous music, which so insistent, masterfully, fresh and fruity is swinging around that mysterious ball, then you're already broken after the second tableau [...] The caring processions. in which the five ' guys ' involve the crystal ball in their musical acting make this piece an incomparable 'observing of the soul '.
Leidsch Dagblad, Lidy van der Spek
THE BRASSGANG (Idea, Concept, Stage Direction & Playwright)
The content was not only through what was shown understandable, but it was also fascinating reflected in the musical performances and the music itself. Therein lay the exceptional power of the whole piece. Visual and catchy compositions formed the basis for the imaginatively told story. Stage director Annechien Koerselman and the musicians have made a striking selection. [...] Stage director Annechien Koerselman translated it into coherent balanced scenes. Bravely she first gradually built the suspence, in this way she raised the expectations on what was ahead of us and the resulting joy about what then dynamicly occured.
Kulturzeitschrift, Silvia Thurner
A success across the board.
Clarino, Cornelia Härtl
PAR!S! PAR!S! (Concept, Stage Direction, Playwright & Lightdesign)
Annechien Koerselman has written a humorous story, in which the artistic charm in Paris during the 1920s manifest itself perfectly. The musicians yearned back in earlier times. Without further hesitation they launched their time machine, which transports them back to this time and facilitates an encounter with Erik Satie himself. After a stopover in 1938, the musicians returned to the present. In between we are treated to tense conflicts of interest, humorous stories, and even two moments of fainting.
With „Paris! Paris!“ in the stage direction by Annechien Koerselman and the design by Nina Ball the Schurken achieved fascinating music theatre, home to an extensive content.
Kulturzeitschrift, Silvia Thurner
THE MUSICFACTORY (Concept, Stage Direction & Playwright)
It turns out that they can play on the pvc pipes which they work with as panflutes, each one or two notes, but all combined a complete piece of music. It is one of the many enchanting moments in this merry music performance The Musicfactory by Calefax Reed Quintet. [...] The children's performance for children from six is perfectly drawn up. No word is spoken, but the five musicians turn out to be talented mimes, which in gesture and music can tell a humorous and touching story about social relationships.
NRC Handelsblad, Jochem Valkenburg
WHAT ABOUT MARY (Stage Direction, Script & Lightdesign)
Stage director Annechien Koerselman has created with modest means a wonderful theatrical performance.
Haarlems Dagblad, Winand van de Kamp
Absolutely ingenious, witty, but also touching. The five Maria's showed many facets of woman life, both viual and audible. And everything with a smile, a tear and a stunning artistry.
Meppeler Courant, Marjan Doorn
MOULIN ROUGE (Idea, Concept, Stage Direction, Playwright, Musical Composition & Producer)
With the opera Moulin Rouge Annechien Koerselman puts on stage an atmospheric and romantic story with beautiful music. One hears the CanCan from the operetta Orphée aux enfers in addition to Chanson de l'adieu and parts from La Bohème by Puccini. In Festival the Parade Moulin Rouge is a performance that stands out and where you leave with a satisfied feeling.
Gooddayz, Anneke Ruys
DIJKDRIFT (Stage Direction)
The stylized stage direction by Annechien Koerselman brings the story close by, but also ensures that the raw, shocking scenes do not find too hard. […] This piece, imbued of religious characteristics is a satire, but the undertone is one of urgent severity. [...] Dijkdrift is fascinating and very originally music theater, in which the different disciplines are ingeniously interwoven.
De Volkskrant, Frits van der Waa
Stage director Annechien Koerselman ensures that Dijkdrift soaks up and sucks down the spectator in its own universe.
Trouw, Sara van der Kooi
Very special is that all players are both beautifully singing, making music in a marvelous way and are acting stronly at the same time. An incredible achievement of stage director Annechien Koerselman and all performers. Dijkdrift is an extremely original opera production.
Scenes, Jos Schuring
THE MONSTER IN THE MAZE (Stage Direction)
Moving solos, numerous choirs, good dramatic structure and exciting sequences skillfully coordinated by stage director Annechien Koerselman all combine to make up Jonathan Dove’s children’s opera.
Süddeutsche Zeitung, Wolfgang Schreiber
HILDEGARD (Stage Direction & Setdesign)
In the clear stage direction by Annechien Koerselman and clever set design by Annechien Koerselman and costume design by Vera Selhorst all roles are solidly to distinguish with the help of very minimal resources.
Theaterkrant, Henri Drost
Authenticity. Bedding. Quality. Ear and eye for detail. In everything. Great use of space. Nice inventions in images. Movement in music is visually underlined with gestures, by use of props, use of space. Everyday sounds as cutting paper are used as music, word-, and atmospheric colouring.
ISOLA DISABITATA (Stage Direction)
Desert island ' Haydn nice unpolished. [...] Her bond with nature is imagined by an extra, not speaking character: a dancer who turns around her and watches everything happen. A great invention. [...] The ending is ambiguous: happy with their rescue the main characters transform: the leaves dress for a lady suit, canopy for a chandelier and smooth nature dance into a rigid style dance. Yet, were they not happier on the island?
NRC, Jochem Valkenburg
Annechien Koerselman [presented] the characters very much to the point and she created several beautiful scenes – helped by the beautiful light design by Yvon Muller. They also gave the opera a surprising end.
Place de l'Opera, Jordi Kooiman
GOLD (Stage Direction)
The percussion and the rapid choreography fit together perfectly. The story has a particular theme: greed. The elaboration is imaginative. ' Gold ' is gold.
Tubantia, Jolien Leussink
THE SECRET OF THE BLUE DEER (Stage Direction, Stage Adaptation, Set-, Costume- & Lightdesign)
An enchantment is the stage, which is also the novel by Edward van the Vendel, spreading out over many pages and the poetic language. But here, music and the actions ensure that the children believe Lena saw thirteen blue mini deer... […] The music and the playful acting with the small props fullfill the story, making it complete and sparkling. A celebration of the fantasy!
Berliner Zeitung, Cornelia Geissler
PAGLIACCIO (Idea, Concept, Playwright, Stage Direction)
" Organized chaos ". That characterizes the theater pieces of Annechien Koerselman. " A typical Koerselman is sexual, energetic and with a lot of guts ". [...] She loves romanticism, passion and clear statements- Pagliaccio, the new theatre production of stage director Annechien Koerselman (1976) is full of them.
De Volkskrant, Truus Ruiter
LAND OF OVERSEAS (Idea, Stage Direction, Musical dramaturgy, Set- & Videodesign)
The stage director about her approach to the exchange of letters: "as a kind of Junglevisitor, armed with an axe I have plowed the text in finding where the music had to come in and how this was supposed to sound like. So I wrote Wiek: I wanted to let the leitmotiv from Beautiful Anna return, but also add a leitmotiv for the daughter. Also, I have asked him to compose a native American dance. I also have added a number of Glenn Miller, a country song and a song about poverty. "
PZC, Ali Pankow
THE HOUSE OF THE FUTURE (Concept, Stage adaptation, Stage Direction, Musical composition)
The performance reflects perfectly the life motto of Koerselman as well. " The moment you die, it helps I think, not having the feeling you have lived your life cowardly. The siamese twins does that in any case and I myself, also try to avoid walking the familiar paths and always meet a new challenge."
De Telegraaf, Esther Kleuver
BEAUTIFUL ANNE (Stage Direction & Musical dramaturgy)
During the first reading of the piece Koerselman noticed, she was the only one of the cast/crew that occasionally had to laugh. She credits it to her sense of perspective that she recognizes in all disaster still the humor in life. " Moreover, I like people, who are not easy brought to their knees, but despite setback continue to perservere. This also applies to Anna. She does not allow her life to stagnate. Despite much adversity her story offers a lot of humor ", as the stage director mentioned.
PZC, Ali Pankow
MOULIN ROUGE (Idea, Concept, Stage Direction, Playwright, Musical composition & Producer)
With her exuberant style of making music theater Koerselman acts straight against the contemporary Zeitgeist. " We live in a society which is ruled by managers. Today's world is about doing business, everything has to be correct. We are being re-educated by companies, CEO's and the Government. They act like we have collectively attended the Waldorf school and cannot think [or take responsibility] for the whole. That [political] accusation that we [artists] are hobbyists of the left wing, is the epitome of this. As if we were slacking off [...] What those managers do not want to accept, is that things sometimes just don't add up in life. I find a makeshift life, with all the setbacks which come along with it, fun. I believe in fairy tales. I dream of Moulin Rouge. She hopes the public that is going to see her Parade opera will come out more romantic and more nostalgic. Because life is meaningless. It is the stories of people who experience something, which get through it, which makes life hopeful. As soon as Mimi is dancing on stage, it is a life-or-death situation. Nowadays that is impossible. That people still stand for a life to the death. "
TheaterMaker, Vincent Kouters
DIJKDRIFT (Stage Direction)
Because what is this piece about, Koerselman asked herself " the plot is very basic and is getting more gruesome. But as Jesus was capable of forgiveness, a man also should be able to show resilience: we have dealed with a lot of trouble, but life goes ón. I want a plea for resilience. "
NRC, Floris Don
GOLD (Stage Direction & Lightdesign)
" The composer, the librettist and I have developed the piece jointly from the start ", stage director Koerselman explains. " Flora came up with a proposal for a scene, Leonard let himself being inspired to compose, but first witnessed [in the rehearsal room], how I wanted to put everything on stage. Such very close cooperation is unusual. "
Berliner Morgenpost, Martina Helmig
CAN YOU WHISTLE, JOHANNA? (Stage Direction & Lightdesign)
" Often, performances for children are about animals or fantasy characters. The great thing about our material is that it is a story about people, a family history to which everyone can relate. [...] Someone dies, and yet the story is not about death, but about life and (human) relationships."
Deutsche Oper Magazine 2013, Nr. 4
In the column "Child Stars" we find out how it is with children from good old TV series and movies. How is the 'chicken, fries and applesauce-girl' from 'Children for Children' doing? This girl is called in real Annechien Koerselman (40), she still can sing and now works as a stage director in theater, music theatre and opera.
Music was always a part of my life and it is still now. I am very happy about my profession and that it is behind the scenes. The good thing is that my voice still is in order and that I can play well myself (I've attended the academy of dramatic arts), which helps a lot in staging. When people stand on stage, I can get them to greater heights. I love to have an overview. I don't have the need anymore to stand in front of the camera.
Linda, Martine Findhammer-Schut, 10 maart 2017
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