You've Got A Watch, I've Got The Time 1996
This performance is built around dancers from three generations. Transitoriness and dedication are their themes. Memories, ambitions, and sexuality are motivations that irrevocably change with time. The performers' search for meaning in life is supported and guided by a spiritual a-capella choir and with a special appearance by the 62 year old 'danseur noble' Jaap Flier, co-founder of the Nederlands Dans Theater. Music compositions were created by Chilean composer Patricio Wang.
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Reviews Got A Watch
"...De Geus' love for dance let the body sing..."
"...It is not only the merit of the composer and conductor that makes the choir appear strong and convincing. De Geus succeeds to integrate the ten singers harmoniously into the dance sections."
NRC handelsblad, Caroline Willems, 20 March 96
"...Finally Jaap Flier intervenes. He gets hold on the younger dancer, cuts him down with his grizzled grimace and glorious steps. But then the unavoidable old age against youth confrontation appears. Against the naked vulnerability of the early youth he puts his tawny torso as a symbol of matured wisdom. It all happens with a breathtaking acquiescence."
Trouw, Eva van Schaik, 19 March 96
"De Geus communicates his different themes crystal clear, using in an excellent way the different characteristics and qualities of the three generations. The touching second solo of the 62 year old Flier, quiet and well-considered, is in fact the highlight of the performance and with it a warm plea to cherish the elderly dancers."
Het Parool, Francine van der Wiel, 20 March 96
"...It is not only the merit of the composer and conductor that makes the choir appear strong and convincing. De Geus succeeds to integrate the ten singers harmoniously into the dance sections."
NRC handelsblad, Caroline Willems, 20 March 96
"...Finally Jaap Flier intervenes. He gets hold on the younger dancer, cuts him down with his grizzled grimace and glorious steps. But then the unavoidable old age against youth confrontation appears. Against the naked vulnerability of the early youth he puts his tawny torso as a symbol of matured wisdom. It all happens with a breathtaking acquiescence."
Trouw, Eva van Schaik, 19 March 96
"De Geus communicates his different themes crystal clear, using in an excellent way the different characteristics and qualities of the three generations. The touching second solo of the 62 year old Flier, quiet and well-considered, is in fact the highlight of the performance and with it a warm plea to cherish the elderly dancers."
Het Parool, Francine van der Wiel, 20 March 96
Beautiful People 1999
Beautiful People deals with madness in our time symbolized by the character of Don Quichot, the romantic hero and fool who fights for his ideals. Presented in front of a backdrop of Sarajevo ruins, the performance mostly deals with the insensibility of modern man. Not only of those who make war, but also of those who sit idly by, watching it happen on a screen. The glorification of violence and the lust for sensation in movies and talkshows mingles with real war and real victims.
Reviews B'ful People
"Feri de Geus impressively comments on the insanity of the world."
"...With 'Beautiful People', following Euroblues, he again mingles dance, mime, text, film and singing as well and lies his concern in universal topics in a disturbed, burning world..."
"...Magnificent images appear on the screen from the cemetery in Sarajevo, with crows in leafless branches. It is here that two women wander in Zorro-disguise: Don Quichot (Noortje Bijvoets) and Sancho Pancha (Dalia Zaltron). In front of this fresh buried past Don Quichot rides his fitness-machine amongst riddled ruins. In the text of the song The Man of la Mancha (Jacques Brel) Bijvoets spurs her iron horse, but the animal is taken away from her by an anonymous soldier, with a red beret, bare chest, black stripes under his eyes and in camouflage pants (Thomas Falk)."
"...By putting Thomas Falk on the stage, De Geus unconsciously says more than by putting the image of soldier Ryan or Karremans alone, because in this outfit Falk is the very image of Rudolf Nureyev, as he was in his portrayal of the king's eagle under the fallen dance horses, leaving us with a Don Quichot version as well. Through this, for me 'Beautiful People' obtained the depth of an art critique on dance art."
Trouw, Eva van Schaik, 20 February 1999
"...The piece has a strong beginning. Don Quichot, personified by the graceful Noortje Bijvoets covers easily many miles -on a fitness strider- elegant and heroic, beating imaginary enemies with a floret. The firm Sancho Panza (Dalia Zaltron) has a more realistic approach. Their movements are bright, alert and alive and are accompanied by delighted and encouraging little cries although they don't add to the dance and the expression."
NRC handelsblad, Ine Rietstap, 21 February 1999
"...With 'Beautiful People', following Euroblues, he again mingles dance, mime, text, film and singing as well and lies his concern in universal topics in a disturbed, burning world..."
"...Magnificent images appear on the screen from the cemetery in Sarajevo, with crows in leafless branches. It is here that two women wander in Zorro-disguise: Don Quichot (Noortje Bijvoets) and Sancho Pancha (Dalia Zaltron). In front of this fresh buried past Don Quichot rides his fitness-machine amongst riddled ruins. In the text of the song The Man of la Mancha (Jacques Brel) Bijvoets spurs her iron horse, but the animal is taken away from her by an anonymous soldier, with a red beret, bare chest, black stripes under his eyes and in camouflage pants (Thomas Falk)."
"...By putting Thomas Falk on the stage, De Geus unconsciously says more than by putting the image of soldier Ryan or Karremans alone, because in this outfit Falk is the very image of Rudolf Nureyev, as he was in his portrayal of the king's eagle under the fallen dance horses, leaving us with a Don Quichot version as well. Through this, for me 'Beautiful People' obtained the depth of an art critique on dance art."
Trouw, Eva van Schaik, 20 February 1999
"...The piece has a strong beginning. Don Quichot, personified by the graceful Noortje Bijvoets covers easily many miles -on a fitness strider- elegant and heroic, beating imaginary enemies with a floret. The firm Sancho Panza (Dalia Zaltron) has a more realistic approach. Their movements are bright, alert and alive and are accompanied by delighted and encouraging little cries although they don't add to the dance and the expression."
NRC handelsblad, Ine Rietstap, 21 February 1999